Anyone familiar with Paul Pfeiffer’s pioneering moving-image work knows that he has been out ahead of “the culture” for more than twenty years. Yet the manipulations and labors he thought to exert on at-one-time recalcitrant film and video frames have now been incorporated into platform and persuasion technologies that have touched us all, whether we’re aware of it or not.

To understand Twombly is to understand how his immersion in the fragments and fascinations of Greek and Roman culture made his work a living conduit to the “enduring” forms, figures, and stories of the ancient world. If Twombly is “about” something, this is what it is.

Jonathan T.D. Neil speaks with Tacita Dean about her new projects, Los Angeles as Purgatory, the future of film, and her favorite Leo Steinberg essay.

I still don’t like much of the painting. The portraits, the post-impressionist rehashes, and landscapes. I don’t even like the swimming pools all that much, but I can see the point of them (and the point isn’t the money, though there’s that).

Israeli artist Tsibi Geva’s exhibition, Paintings 2011 – 2013, curated by Barry Schwabsky, was on view at American University at the Katzen Arts Center in Washington D.C. from November 5 to December 15, 2013.

Atmospheric concentrations of carbon dioxide (CO2), methane, and nitrous oxide have increased to levels unprecedented in at least the last 800,000 years. Carbon dioxide concentrations have increased by 40 percent since pre-industrial times, primarily from fossil fuel emissions and secondarily from net land-use change emissions.

Jonathan T. D. Neil and Robert Lazzarini met at the Brooklyn Rail’s headquarters in mid-October to discuss the artist’s newest body of work, (damage), which will go on view at Marlborough Chelsea on November 15.