Art’s Moral Fetish
The art that casts a critical eye towards our society in its totality, or even just employs ambiguity to inspire criticality in its viewers, is met with skepticism, if not hostility.
Notes on Jon Rafman’s Dream Journal
Art itself doesn’t need to be defended: even when it whispers fake nothings, or indulges suspicious behavior, it speaks more than any defense ever could.
Harold Ancart and Suzan Frecon at David Zwirner
These are landscapes without landscape — pure ideas of how a picture is painted, of how a landscape is formed as an image.
Interview with Boyd Rice
Stefan Hain and Boyd Rice discuss Rice and Darja Bajagić’s “Banned Exhibition,” punks in the 1970s, and ‘authoritarian’ symbols.
On the Poetic Works of John Devlin, Part I
Devlin’s cover-art, in conjunction with the title and text, suggests to me the situation of the astrologer on earth, whose observations describe the dome of the heavens.
The Sad Lament of the Brave Review
In these new pictures by Julian Schnabel, we see the present state of painting: abandoned like unfortunate refuse, making do with what it has, left to its own devices, to elaborate what still remains within it.
Emily Post-Avant: Back by Popular Demand
The first time I read in workshop, I fainted and broke my nose when I fell.
Re-Materialization, Remoteness, and Reverence. A Critique of De-Materialization in Art
If objects — like that dead paintbrush — mean nothing but their functional definition, a human being might well be nothing more than a machine for destroying nature; love, a purely mechanical function.
