THE HELD ESSAYS ON VISUAL ART
In Defense of Faking It

In November, I published a New York Times essay headlined “In Praise of Art Forgeries .” Nothing I have written has provoked as strong a reaction— including the response by philosopher Alva Noë in these pages. I have since realized that my article touched such a nerve because it raised issues that seemed to dance around art but which are actually central to it.

“What the world looks like when it is loved”: JOSEPHINE HALVORSON Facings

Josephine Halvorson is a painter of intimacy, which is as real as anything, but not what people mean when they talk about representing reality.

THE CINEMA OF CRUELTY
The Missing Picture (L’image Manquante) by Rithy Panh

Rithy Panh has devoted his career to making films about the atrocities and legacies of the Cambodian Genocide, from the precisely documented torture facility described in S-21: The Khmer Rouge Killing Machine, to the indentured servitude faced by present-day sex workers in Paper Cannot Wrap up Embers. Throughout, Panh has remained steadfastly situated in the present: while his films concern the past, they do not attempt to enter or relive it, but rather interrogate historical meaning for the purposes of understanding a troubled present.

JHEREK BISCHOFF
Composed at St. Ann's Warehouse

Jherek Bischoff’s two-night stand at St. Ann’s Warehouse in January was an intimate showcase for his eclectic brand of orchestral pop.

Second Life

Peter Steiner’s famous cartoon in which one dog, sitting at a computer, says to another, “On the Internet, nobody knows you’re a dog,” addresses the anonymity the Internet affords and the identities one can perform.

Remembering Nancy Holt

More than with most artists, Nancy’s persona was very much like her art, and her art so very much like her: precise, calm, accepting, radiant, luminous.

JULIA ROMMEL The Little Match Stick

Julia Rommel has installed just two works in the first room of her current exhibition: a large, ravishing creamsicle orange painting, “Punkin Chunkin” (2014), and a small, mostly white canvas, with accents of grays around the edges and sides, “Sandpipers” (2013).

From the Publisher & Artistic Director

Dear friends and readers,

It was during his speech at a General Electric gas engine plant in Wisconsin on January 30th that President Obama made his off-the-cuff remark about art history being useless.

Editor's Messsage Guest Critic

The Demolition Game

What is the role of architecture in the eyes of the patrons and trustees of our museums? How does patronage influence the curators and the interaction of the public with the art displayed?

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MAR 2014

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