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.
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.
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.
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.
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.
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.
A few years ago, I found myself hunting in a bookstore for the last copy of Wolfgang Hilbig’s latest translation.
The video of Robert Godwin Sr.’s slaying remained on Facebook for over two hours before it flagged as “offensive content” and taken down.
Talking with Seth Price can feel like circumscribing an amoeba. One is aware of protean boundaries, but also a rigid cell wall where certain issues attempt to broach.
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.
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.
Many years from now, but surely fewer than one wants to think, those of us who survive ecological collapse and the technocratic reformation of the global economy will remember Pierre Huyghe (b. 1962, Paris).
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.
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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.
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.