Greg Parma Smith at Hoffman Donahue
The question of images, I think, is an appearance (an image) of a deeper, more intractable question of history.
Wrong Life Review
Living it rightly since 2022
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The Whitney Biennial Will See Contemporary Art to its End
The Biennial feels like the work of a future civilization that has discovered the wreckage of 21st Century “contemporary art,” and did their best to stage a faithful reproduction. Like Colonial Williamsburg.
There, I Fixed It
Horacio Alcolea Crespo at Triest, Marina Adams at Timothy Taylor
Celebrity Art
In the limited, consistent vocabulary of celebrity art AbEx, Pollock, Warhol and Basquiat really were the end of the road and all the rest is academic claptrap.
Post-Conceptualism to Neo-Surrealism, Postscript
Art is a hot mess: history, crisis, denial and lessons from recent public art stumbles
Setting-Up the Set-Up: Nyeema Morgan at PATRON Gallery
Barbarita Polster asks: If irony traditionally requires expressing one thing to mean its opposite, what happens when opposites become oppositional no longer?
Good and Bad #6: The Mezzanine, The Novelist
Adam Rothbarth asks: Is The Novelist a beautiful example of thesis-antithesis-synthesis, or is it a mournful reflection on an increasingly despairing generation’s inability to focus on the real world?
Reality al dente: Authenticity and The Bear
Since when has the goal of art been to recreate reality? Is reality so good that all artistic endeavors should seek to reproduce it?
Spencer Lewis at Harper's
What a great thing it is to be, just a painting: free, true and unencumbered, serving no aim but its own.
Good and Bad #5: Baz Luhrmann's Elvis
Adam Rothbarth asks: Whose story are music biopics really trying to tell?