Darren Jones
Darren Jones is a Scottish-American art critic. He is a frequent contributor to several publications including Artforum and New Art Examiner. He is a recipient of a Creative Capital/Andy Warhol Foundation Arts Writers Grant.
What is postmodernism? That’s a tricky question, because there isn’t really one answer. Postmodernism is defined by what it is not—modernism. Beyond that, it can mean just about anything to just about anyone.
November 2024Art Books
Masterpieces from the William Rubin Collection: Dialogue of the Tribal and the Modern and its Heritage
Phyllis Hattis’s Masterpieces from the William Rubin Collection: Dialogue of the Tribal and the Modern and its Heritage focuses on forty-eight works (paintings, sculptures, and drawings) to highlight Rubin’s passion for the parallels between tribal art and modern masters.
Phil Frost’s multi-media constructions feature a cast of heavy-lidded cartoonish faces in garish neons, gawping through intricate white patterning, that has become one of his most consistent and recognizable motifs—hand-drawn in painstaking detail using white-out correction fluid, without the use of stencils.
By David Carrier, Joachim Pissarro, Gaby Collins-Fernandez, Alyona Valerie Dybunova, and Darren Jones
When recently we interviewed Philippe de Montebello, it happened that Sir Norman was in town, and so he participated in that discussion. He had much to say which was of great interest and so we thought it natural to continue the discussion with an interview devoted entirely to him.
Scottish artist Ken Currie emerged in the 1980s as one of four figurative painters dubbed the “New Glasgow Boys,” alongside Steven Campbell, Peter Howson, and Adrian Wiszniewski.
The Belgian-born artist Peter Buggenhout creates massive sculptures out of discarded manufacturing materials, covering them in hair, blood, and grimy layers of dust collected from vacuum cleaner bags.
In her second solo exhibition at Mixed Greens, Sonya Blesofsky continues her excavations into the unyielding architectural reinvention of New York, bringing attention to human histories and daily experience in relation to our built environments.
Tom Shannon’s recent exhibition elicited a long-lasting shift in this viewer’s perception of the metaphysical realm. Shannon takes as his subject, and medium, the elemental forces of the universe that define the basis of our existence, and presents them on a scale perceptible to the human mind.
Art requires a framework. The value of criticism when it is allied to a great social issue within a given constituency is that it records, discusses, and introduces audiences to art that was intended to transcend or bypass museums and markets and connect with multitudes.
Years ago, when I lived in London, making my tentative forays into the art world, passing through the door to a gallery was a momentary ordeal, bedeviled by halting indecision and uncertainty about what lay beyond.
