WILL FENSTERMAKER is associate editor of the ArtSeen section of the Brooklyn Rail and digital editor at the Metropolitan Museum of Art. He holds an MFA in Art Criticism & Writing from the School of Visual Arts.
APR 2018 | ArtSeen
Provosty’s paintings contain within them a kind of totality. You want to reach into them but hesitate—not because it’s forbidden, but for the same reason you pause before a door you knew to be closed but now stands before you open.
JUL-AUG 2018 | ArtSeen
As an editor, I distrust superlatives, but here goes one that’s deserved: Aaron Fowler’s Donkey Days is the best solo gallery show I’ve seen in New York this year. Fowler’s assemblages are meticulous, intricate, and complexly layered, steeped with references and allusions—narrative, formal, and material—to art history, popular culture, and the artist’s own familial and personal experiences.
JUNE 2017 | ArtSeen
One way to measure the importance of Louise Lawler and her work is to look outside the Museum of Modern Art at what is showing concurrently in the city. A number of exhibitions extend the central question of the museum’s retrospective, Why Pictures Now.
SEPT 2017 | ArtSeen
Much has been penned about the twenty-five volatile years leading to Richard Gerstl’s death in early November 1908, when the young painter hanged and stabbed himself in the heart.
OCT 2017 | Theater
On Friday, August 11, 2017, and throughout the subsequent weekend, Elle Reeve, a correspondent for VICE News Tonight, was embedded with an extremist cell that had traveled to North Carolina to attend the “Unite the Right” rally, which brought together the disparate alt-right confederacy.
DEC 16-JAN 17 | Critics Page
Well, the truth is that I am. At least, I sometimes write about tech. I’m sorry I am, but it pays the bills. I’ve accepted that no one will ever pay me a month’s rent for a day spent looking at and writing about art.
MAY 2018 | ArtSeen
There can never be a complete history of the internet because the internet is, to a degree, atemporal—like culture or consciousness, it either exists (in one form or another) or it does not. This places it fundamentally at odds with linear narratives.
JUNE 2017 | Film
The video of Robert Godwin Sr.’s slaying remained on Facebook for over two hours before it flagged as “offensive content” and taken down.
JUL-AUG 2017 | ArtSeen
What is often named an interest in “materialism” seems to be, in fact, a desire to uphold its natural link and allow the earth itself to reduce her paintings to a base state, a process she merely expedites.
OCT 2017 | ArtSeen
As a general principle, artist-curated exhibitions can be untidy and idiosyncratic in ways that museums and the market abhor, and this can make them interesting, disorienting, dissonant—even iconoclastic in the best instances.
NOV 2017 | Art
Robert’s performances comment on or re-interpret iconic works of art—his commission for Performa 17, Imitation of Lives, was performed over a November weekend at Philip Johnson’s modernist masterpiece, Glass House, in New Canaan, Connecticut.