Growing up among the ‘onion fields and big skies’ of rural america, artist jacob hashimoto collected an open and abundant perspective. ‘It makes you see culture and cultural patrimony through an oddly shaped lens,’ he shares with designboom in this exclusive interview.
“April is the cruellest month.” A century after TS Eliot immortalised a pavilion on Margate beach by writing The Waste Land there — “on Margate Sands I can connect nothing with nothing” — another American takes the poem’s opening lines as the title of his new public sculpture for this bleakly beautiful, socially troubled stretch of coast, and teases out many difficult global connections.
Artist Michael Rakowitz describes himself as someone who creates encounters, structures, and objects—his sculptural practice is “as an exertion of pressure,” he recently told Brooke Jaffe for “ARTnews Live,” our ongoing IGTV series featuring interviews with a range of creatives.
One of the challenges of talking coherently about Michael Rakowitz’s exhibition at the Wellin Museum is coming to an understanding of what the work is: Is it a memorial to lost cultural heritage, an act of historical recovery, a collective bereavement, or a model for survival? Perhaps this essay is my attempt at answering this question.
Ideas pour from Derrick Adams, and what’s surprising is how many of them work out. A couple of years ago, around the time that he was making his Floater paintings, depicting Black people lounging on swimming-pool inflatables, he thought, Why not start a creative persons’ retreat where the only obligation would be to appreciate leisure?
Moon Dust (Apollo 17) transforms the BMA’s majestic Fox Court, evoking in viewers a sense of wonder. For the next seven years, museum visitors can enjoy the sublime light installation by Spencer Finch. For this episode of Art Matters, the New York-based artist spoke with BMA Director Christopher Bedford about Moon Dust and how the installation’s 447 lights and 150 fixtures are a scientifically precise representation of the chemical composition of moon dust gathered during the Apollo 17 mission. Listen to the Five minute interview by clicking here.
It is difficult to explain the erasure of the Black body in imagery linked to American recreation and to expound on the psychological damage of not seeing oneself reflected in the world one inhabits. So much of the experience of being Black in America is born of escape—escaping slavery and servitude and systemic persecution, escaping the pain of generational trauma—that Adams’ paintings feel like an American Dream rendering unabashed Black joy in full saturation. Black joy is the primary aesthetic of the work and it begins a conversation on who is afforded leisure in America, and why. Cleverly, Adams constantly reminds us how race, gender, politics and power dictate our visual culture, and how ecstatic joy only exists in relation to the extremity of violence. But this is not the sole aim of “The Last Resort.”
Music meets the art of Derrick Adams in a recent project from Tandem Press and UW-Madison student composers.
Northwestern art Prof. Michael Rakowitz seeks to explore the diaspora between Iraq and Iraqi immigrants through his work recreating lost artifacts and reliefs from the ancient Iraqi city of Nimrud. Watch the video (Click here). Closed captions available.
A new collective of Black architects and artists, formed out of a show now at MoMA, aims to “reclaim the larger civic promise of architecture.” The MoMA show was organized by Sean Anderson, an associate curator at the museum, and Mabel O. Wilson, an architect, Columbia University professor and author, among much else, of “White by Design,” which describes the Modern’s failure to display and collect works by Black architects and designers.
March 7 marked 15 years since Gordon Parks' passing. The photographer, musician, film director and activist will always be remembered as "one of the greatest photographers of the twentieth century". Born into poverty and segregation in Fort Scott, Kansas, in 1912, Parks was drawn to photography as a young man when he saw images of migrant workers in a magazine. After buying a camera at a pawnshop, he taught himself how to use it. He once famously said: "I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera."
In our latest online edition of MoMA’s ArtSpeaks program, a member of our staff shares personal impressions of an artwork in the galleries. Here, Sean Anderson, associate curator in the Department of Architecture and Design, talks about Amanda Williams’s Color(ed) Theory Suite (2014–16), in which condemned houses in Chicago’s Englewood neighborhood are, however briefly, made visible again by members of the community.
Explore our collection work by work as we release a new video (Click Here) each Friday. Watch the videos and then come visit the works in person at MoMA!
You can also hear more about this work from the artist herself.
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In his continued exploration of Black refuge and leisure, and during a time when uneven law enforcement continues to negatively shape the experiences of Black Americans, Adams also offers a space to reflect on the importance, and at times political act, of having the freedom to go wherever you want.
“From the start, Parks knew how to make a beautiful picture,” photography critic Vince Aletti said. And it is true that, long after Parks established his reputation with unflinching photographic series on the civil rights movement, Harlem gangs, the Black Panthers, Malcolm X and the Nation of Islam, he continued to move easily between photojournalism and the fashion work for which he maintained a lifelong regard — and which, along with his access to elements of Black life largely invisible to white readers, was among the reasons he was hired in the first place by Life.
As part of a collaboration with Art21, hear Michael Rakowitz describe his inspirations in his own words. See the video, Haunting the West click here.
GO STAND NEXT TO THE MOUNTAIN REMIX PROJECT is a limited edition vinyl collectable album featuring remixed versions of songs from multidisciplinary artist Derrick Adams' collaborative endeavor with comvposer Philippe Treuille. The original songs for this new project were first presented during Adams' live performance of Go Stand Next To The Mountain at The Kitchen NYC in 2010. That performance included an original score by Treuille and an additional musical contribution by ART FOR MONEY recording artists CrashPlanet, MoPeshi and Ramon Rendezvous - all of whom appear in this new remix album. The experimental sound and context of the original performance is expanded into an alternative musical experience and conceptual work with a responsive album cover design, packaging and production by Rhodeworks, Berlin.
This writing attempts to build a commentary of contrasts. I have based my thoughts about If We Asked about the Sky on memories of work I saw during a pre-pandemic studio visit, coupled more recently with hearing Anne Wilson’s reflection of her physical and emotional experience of the exhibition.
The relevance of object-image to Rezac’s works is spot-on. What should be frivolous in his art is not, because the object’s physical properties forge a connection through strong antinomies. The image comes into sharp enigmatic focus through an unapologetic assertion of difference.Take Soliloquy (2019) for example. In some parallel universe, a carpenter’s workbench and underground grain vaults cohabit, and the resulting tool plays a practical role.
Raffi Khatchadourian offers a comprehensive profile for The New Yorker about Michael Rakowitz and the legacy of his political work.
Forbes contributor Chadd Scott speaks to Derrick Adams and Hudson River Museum Director Masha Turchinsky about pervasive images of blackness within Western art and the importance of representing black leisure.
Amanda Williams responds to Blackout Tuesday, a viral Instagram movement in reaction to recent police brutality and racism, with her new series: What Black Is This, You Say?
“My beginning of the series was actually a little bit of a pushback both of the need for people to think there has to be an immediate answer, usually not a well thought out answer, and simultaneously that Blackness is monolithic,” Williams said. “So, all Black people need to get on board with subscribing to a certain way of expressing Blackness, or frustrations with injustice. And there’s less and less tolerance for more than one way to do that.”
The Washington Post offers a beautiful and attentive review of Gordon Parks' new book of photography The Atmosphere of Crime: "Parks’s photographs present a more insightful, delicate and disinterested view. They remind us that an atmosphere is not the same as a narrative. One is complex, pervasive, inchoate and, like a fog, it can lift. The other is linear. Like an obsession, it keeps corkscrewing ahead, leaving all kinds of damage in its wake."
Beautiful review of Martha Tuttle's new installation: a stone that thinks of Enceladus, at Storm King Art Center in the Hudson Valley.
"Ms. Tuttle has gathered boulders from Storm King’s property, most of them about knee-height, and placed them around the clearing with a contrapuntal casualness; resting on each boulder are delicate sculptures of rocks, crafted in the artist’s studio from milky glass or solid marble, and arranged with the same tossed-off elegance as the boulders themselves. These humble cairns conjoin “real” and “artificial” stones, not to mention the lichens growing on the boulders’ surfaces and the grass beneath your feet into a poem of vibrant matter."
ARTFORUM contributor Erica Rawles interpretes Torkwase Dyson's intricately layered and richly textured paintings through the lens of the Plantationocene, alligning her material choices whitin the space of her canvases with the experiences of Black Americans navigating the inequal and oppressive infrastructures of American cities. "Dyson’s melds of overwhelmingly precise delineations with fluid grounds, sometimes punctuated by arrow-like forms, seem to be encrypted guides to a way out of the boundless tumbling problems of the Plantationocene," Rawles closes her review, "Or maybe her work merely reminds us of the possibility that such a path might exist."
Artnet news reviewed Derrick Adams: Buoyant on view at the Hudson River Museum. Buoyant is the first museum exhibition of Adams’ Floaters series and debuts We Came to Party and Plan (extended through October 18), new related works the artist created during his summer 2019 Rauschenberg Residency. Adams' Floaters depict a world where joy, love, leisure, and even prosaic normalcy play central roles, methodically filling the many voids and omissions in popular visual culture depicting African Americans.
In lieu of her Open House Lecture at Harvard Graduate School of Design scheduled for April 2, 2020 that was cancelled due to the Covid-19 outbreak, Williams speaks with Sala Elise Patterson about her work, purpose, and path.
Centropy, an exhibition of new and recent works by Deana Lawson, is now on view at Kunsthalle Basel through October. Centropy is Deana's first presentation of works in Switzerland, and the largest institutional exhibition of her work to date.
"There is a conspiratorial intimacy that enables her to capture the subjects of her photographs as regal, commanding, supremely sensual, and very much of the here and now, while also seeming to channel past lives of stately sovreignty. Even if these often are, in fact, highly staged compositions, Lawson's gripping portraits of contemporary Balck life are no less candid, intimate, or real because of it...in so much of Lawson's portraiture, Blackness is an identity that is neither monolithic nor can it be understood apart from the passage, flight, and migration forced by a dominant white system that has dispersed people of color across the globe."
Brandon Sward beautifully reviews Michael Rakowitz's 2017-2018 survey show at the MCA, Backstroke of the West, in print and online in Issue 04 of Full Bleed Journal.
"As a whole, Backstroke of the West demonstrates that history is not just what is remembered, but also what is forgotten, and is composed of not just what is present, but also what is absent. In this way, there’s much resonance between Rakowitz and Benjamin, who similarly understands translation as attending to both what is and is not on the page. It’s as if language is a room, and a text is a voice reverberating through it; the bigger the room, the more influential the voice, the smaller, the weaker."
John Yau of Hyperallergic reviwes Julia Fish's recent survey at the DePaul Art Museum, bound by spectrum. Yau celebrates Fish's keen observation and rigorous commitment to the "small sensations" of her physical space. He notes the uniqueness of her practice which "collapses the long-held fiction that painters paint and conceptual artists think." Fish's steadfast mapping of her own domestic space is ever more relevent during quarantine, Yau explains, as her work questions: "how far does any one of us have to go in order cross the threshold from one space (or world) to another? What does it mean to pay attention to what is underfoot, to our passage in the familiar, ever-changing spaces of everyday life? How does invention differ from production?"
Inspired by the recent Netflix Documentary, The Last Dance, which follows the Chicago Bulls' 1997-'98 season, journalist Cason Sharpe investigates the aesthetic and cultural legacy of Michael Jordan. Sharpe features a 2018 Nathaniel Mary Quinn portrait entitled, Jordan, and discusses its departure from the artist's signature style of Francis Bacon-esque distortions. Quinn's portrait of Jordan is painted with an "admiration that’s evident in the cartoon-like exaggeration of Jordan’s jawline and neck, with the white gleam in his eyes echoing the white of his handsome smile."
Caroline Kipp, Curator of Contemporary Art at The Textile Museum in Washington D.C., speaks with Anne Wilson about art and life during quarantine. Anne discusses conceptual and material processes behind recent work prepared for her exhibition, If We Asked About the Sky, which will be held at Rhona Hoffman Gallery once restrictions are lifted:
"The work proposes both smallness and vastness, and inhabits a space of contemplation between the mortal world and a celestial universe that is infinite and unknowable. With the proliferation of media images of death, destruction, and injustice that constantly surround us, this work is a meditationon living in and through loss. How does one recognize and respect a life? What is the space between living and dying? Can a drop of blood be placed in a galaxy beyond the trauma of mortality?"
Derrick Adams collaborates with the late fashion designer, Patrick Kelly, by juxtaposing materials from Kelly's archive with his own abstract collages and sculptures. In this exhibition Adams seeks to “talk about fashion, talk about the form, talk about the body without using the figure.”
A.O. Scott of The New York Times discusses the context and the legacy of Gordon Parks' film The Learning Tree (1969). "The Learning Tree is something else...an absolutely personal film, entwined with its creator’s own experiences, that lays authoritative claim to a place in the American mainstream. At Life (and before that at the New Deal-era Farm Security Administration), Parks was known for his intensive, intimate portraits of housing projects, working-class neighborhoods and poor, rural towns, and there was always a risk, given the institutional whiteness of the Time Life Corporation, that those images could be misinterpreted as exotic. But his aesthetic rigor — the beauty and integrity of those images — ensured that Parks was doing more than explaining black life to white America. He was, like his exact contemporary Ralph Ellison (who grew up one state south of Parks, in Oklahoma, and who like Parks eventually went north) committed to the grand midcentury project of explaining America to itself.
Through various motifs, Rezac questions and addresses the problems of articulation and elision within formal and metaphorical relationships. One favored theme is based on framings, moldings, and enclosures; another involves the interactive pairing of volumetric forms on tables. Several works in the show relate to the Baroque architect Francesco Borromini and others Rezac studied during a recent residency at the American Academy of Rome. Rezac’s aesthetic logic appropriately resists clear, easy conclusions. His affinity for structure and artisanal materiality leads to distilled syntheses of form, prompting us to assess his intriguing propositions with engaged, extended looking.
A review of Derrick Adams: Buoyant at the Hudson River Museum in Yonkers, New York. Though the museum is temporarily closed due to COVID-19 viewers can engage virtually with Adams' exhibition on the museum's website.
Pace Gallery has initiated a weekly broadcast series on Instagram to offer some respite during quarantine. "Listening and thoughtful reflection is one answer to the sometimes contradictory chatter and noise of the day. To speak out loud, to listen, and to ask questions of our current times is to be alive and present. This is also one of the roles of art and artists, to create visionary futures and voice our common goals. This series is on hand to ask the questions that keep us awake at night, but also attempt to answer them, delivering live broadcasts and curious, engaged, and informed thinking from our house to yours." Tune in today, April 3 at 5 PM EDT @pacegallery for a conversation between Torkwase Dyson and Hans Ulrich Obrist.
Art in America review of Soil, Seed, and Rain, Nathaniel Mary Quinn's latest exhibition at Rhona Hoffman Gallery.
Richard Rezac presents 14 new sculptural works in his first show at Luhring Augustine Gallery in New York. Due to concerns surrounding COVID-19 the gallery is open by appointment only. Please contact the gallery to make an appointment, or engage virutally with Richard's works on their website.
Alex Jen provides a heartfelt, in depth review of bound by spectrum, Julia Fish's recent survey show at DePaul Art Museum.
Chris Garofalo is featured in Bridge Project's second exhibition, To Bough and To Bend, in which "artists explore ecological issues and look to both religious and historic art practices that help us...find our way back into the living world we share." The exhibition opens in LA on March 11th and will be on view through April 25th.
A discussion of the emotion behind Nathaniel Mary Quinn's new works on paper and paintings on view at Rhona Hoffman Gallery until March 28.
Derrick Adams: Transformers is on view at Luxembourg & Dayan in London through April 4.
A review of Gordon Parks: This Land is Your Land at Rhona Hoffman Gallery.
MoMA has acquired a full set of photographs by Gordon Parks from The Atmosphere of Crime series, a photographic essay examining crime in America he created on assignment with Life magazine in 1957.
An interview with the artist on the occasion of his show at Luxembourg & Dayan Gallery in London, on view through April 4, 2020.
"Organized by the National Gallery of Art and the Gordon Parks Foundation, the traveling exhibit Gordon Parks: The New Tide, Early Work 1940-1950, sifted fact from fiction to present a portrait of the photographer as a young man on his way to becoming a revered artist the power of whose work continues to widely influence new generations, from artists to activists to every day people who continue to see themselves reflected in his work."
Amanda Gluibizzi reviews Rakowitz' current exhibition The invisible enemy should not exist, currently on view at Jane Lombard Gallery through February 22, 2020.
An exhibition of formative works by Gordon Parks is now on view through April 26, 2020 at the Addison Gallery of American Art at the Phillips Andover Academy.
The Akademie der Künste in Berlin, Germany has awarded the 2020 Berliner Kunstpreis in fine art to David Schutter. First awarded in 1948 by the Berlin Senate in commemoration of the March Revolution of 1848, the prize has been given by the Akademie der Künste on behalf of the state since 1971. The Berliner Kunstpreis recognizes individual achievements in the disciplines of fine art, architecture, music, literature, performing arts, and film. One prize is awarded per year by nominations in each discipline. Former fine art recipients include Kader Attia, Isa Genzken, Hanne Darboven, Blinky Palermo, and last year’s recipients, the collaborative performance duo, Prinz Gohlem. David Schutter is the first American artist to be given the award.
John Preus Discusses his upcoming project at The Keller Center at The University of Chicago, opening January 30, 2020.
A Review of Gordon Parks: The New Tide, Early Work 1940-1950, currently on view at the Amon Carter Museum in Fort Worth, Texas.
Review of the artist's show Bound by Spectrum at the DePaul Art Museum in Chicago, IL.
Torkwase Dyson was named the winner of the 2019 Joyce Alexander Wein Artist Prize, which recognizes the artistic achievements of African American artists who demonstrate great innovation, promise, and creativity.
LA Times Review of Judy Ledgerwood's current exhibition at 1301PE in Los Angeles.
Adam Szymczyk discusses the historical and philosophical underpinnings of David Schutter's Liebermann Suite, which "offers a possibility to overcome the normative, institutional protocols of forgetting through a tentative rendition of what stands in for whatever cannot be seen or told."
Review of Torkwase Dyson's current show, 1919: Blackwater, on view at Columbia GSAPP through December 14.
Discussion of Rakowitz' ongoing project "Beneath the Date Palms," and his contribution to the secnd LA Triennial, Current: LA: Food.
A studio visit and interview with the artist on the occasion of his Gagosian Beverly Hills show, Hollow and Cut.
Adams discusses Where I'm From, his first solo show in his native Baltimore, and his plans to create a "bed and breakfast" artist residency in Baltimore's Waverly neighborhood.
Quinn discusses the psychology behind his portraits in the exhibition Hollow and Cut, on view at Gagosian in Beverly Hills through October 19.
Review of The Dance of Atoms at Rhona Hoffman Gallery.
Review of Amanda Williams' Colored Theory series and surrounding work.
Interview between Anderson Cooper and Nathaniel Mary Quinn.
The Wall Street Journal asks Nathaniel Mary Quinn about his career and upcoming exhibition.
The prize recognizes artists who “elevate the understanding of sculpture and its possibilities.” Rakowitz is the fifth recipient of the honor.
Review of Where I'm From, at the Gallery in Baltimore City Hall.
Review of Natalie's newest body of work in “Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank” at Salon 94.
Michael Rakowitz' new cookbook - A House With A Date Palm Will Never Starve - continues his ongoing project on the literal and metaphorical significance of Iraqi dates.
Jacob Hashimoto talks about his new installation in Chicago's Willis Tower
Gelare Khoshgozaran reviews Rakowitz' exhibition Dispute Between the Tamarisk and the Date Palm
Megan N. Liberty reviews Deana Lawson's monograph recently published by Aperture.
Lori Waxman reviews HUTOPIA, a group exhibition at the Neubauer Collegium featuring work by Preus.
Review of the latest event in the Brooklyn Museum’s regular series “Breaking the Canon,” which addresses the institution’s collecting of African-American art.
A look at how the photographer translated his humanistic view of urban crime to the silver screen.
Amanda Williams’s Cadastral Shaking (Chicago v1), which depicts a redlined map of Chicago that has been rearranged in effort to imagine how the city’s rampant inequality could be reconfigured, is currently on loan to newly inaugurated Chicago Mayor Lori Lightfoot.
Review of Dispute Between the Tamarisk and the Date Palm at REDCAT.
Amanda Williams and Olalekan Jeyifous won the inaugural commission for She Built NYC with their monument proposal for Prospect Park.
Interview with Anne Wilson in light of the release of the publication Vitamin T: Threads and Textiles in Contemporary Art.
Review of Mr. President... Mr. President... at Rhona Hoffman Gallery.
Review of New Icons at Mary Boone Gallery.
Review of Paper Mirror at MoMA PS1, New York.
Inspired by the drawings of Natalie Frank, Grimm Tales opens Friday at Ballet Austin, Texas.
Review of Dimensions of Citizenship at Wrightwood 659.
Review of Derrick Adams: Interior Life at Luxembourg & Dayan, New York.
Torkwase Dyson named the Spring 2019 Robert Gwathmey Chair at The Cooper Union.
Review of Paper Mirror at New York's MoMA PS1.
Review of Dimensions of Citizenship: Architecture and Belonging from the Body to the Cosmos at Wrightwood 659, Chicago.
An interview with Martha Tuttle in her Brooklyn studio.
Review of Julia Fish: Floret at David Nolan Gallery.
Review of Nancy Spero: Unbound at the Colby College Museum of Art.
Review of America's Playground at Miami Beach's Faena Hotel.
Review of Deana Lawson at Sikkema Jenkins.
Review of Gordon Parks: The New Tide, Early Work 1940-1950 at the National Gallery of Art.
The Massachusetts Museum of Contemporary Art celebrates the tenth anniversary of its exhibition, Sol LeWitt: a Wall Drawing Retrospective, by adding another decade to its long-term presentation.
Arthur Lubow profiles Deana Lawson in The New York Times.
Derrick Adams unveils a seven-story mural at the Fashion Outlets of Chicago in Rosemont that is inspired by the late fashion designer Patrick Kelly.
Review of The Dark Isn’t the Thing to Worry About at SITE Santa Fe.
Solo exhibition of works by artist Torkwase Dyson opens October 4th at Colby Museum of Art, Maine.
Review of Clouds and Chaos at The Crow Museum of Asian Art.
Spencer Finch opens Fifteen stones (Ryōan-ji) at Kyoto's “The Temple of the Dragon at Peace” as part of a program of artistic interventions at the Mies van der Rohe Pavilion.
Jacob Hashimoto presents two major installations of public art at Governors Island, New York.
Artist Nathaniel Mary Quinn's recounts his own life story.
Review of A Color Removed at FRONT, a new art Triennial in Cleveland.
Review of Soundtrack at M+B gallery.
Interview with the artist in light of her exhibition Natalie Frank: O at Half Gallery.
Review of the United States Pavilion Dimensions of Citizesnship at the Venice Architecture Biennale.
Profile of Amanda Williams by Ted Loos.
This year's Venice Architecture Biennale shaped for the first time by Chicagoans.
Study of Gordon Parks's photograph American Gothic.
Profile of Deana Lawson by Zadie Smith.
Review of Address at the Renaissance Society.
Review of Far From the Tree at Rhona Hoffman Gallery.
Rezac and curator Solveig Ovstebo discuss Address at the Renaissance Society.
Interview with the artist in light of his new body of work.
Review of Far From the Tree at Rhona Hoffman Gallery.
Review of Me, Myself, and I (A Group Show) at Berggruen Gallery.
David Schutter is a recipient of a 2018 John Simon Guggenheim Memorial Foundation fellowship in the Fine Arts category.
Interview between Michael Rakowitz and Evan Moffitt.
The Graham Foundation for Advanced Studies in the Fine Arts reveals the five creative professionals inaugurating its fellowship program.
Review of Backstroke of the West at Museum of Contemporary Art Chicago.
Review of I Am You | Part 1 at Jack Shainman Gallery.
Review of PRECIOUS FRAGMENTS exquisite longing at Rhona Hoffman Gallery.
Review of The Dark Isn't The Thing To Worry About at Rhona Hoffman Gallery.
Review of Martha Tuttle and Henry Chapman at Rhona Hoffman Gallery.
Interview with the artist by Jude Stewart.
Review of a hand well trained at Rhona Hoffman Gallery.
Review of The Creative Act: Performance, Process, Presence at the Guggenheim Abu Dhabi.
Review of Dancers and Dominas at Rhona Hoffman Gallery.
David Schutter in Conversation with Dieter Roelstraete.
Torkwase Dyson writes about ways to center black subjectivity through artistic abstraction.
Luis Gispert and Jeff Reed discuss their project Stereomongrel at the Whitney Museum.
Public Art Fund and Forest City Ratner Companies announce Spencer Finch: Lost Man Creek.
Review of SPOLIA at Istituto Centrale per la Grafica, Rome.
Review of Another Place at the Sharjah Art Foundation.
Review of The Relative Appetite of Hungry Ghosts at Rhona Hoffman Gallery.
Review of Mapping Vienna, a year-long site-specific project in Austria's capital.
Review of Saturated Light at Rhona Hoffman Gallery.
Review of Martha Tuttle at Tilton Gallery.
Review of In the Cosmuc Fugue at Rhona Hoffman Gallery.
Edition review of Study for Autograph Repetition (2013) by Susan Tallman.
Review of Aqua Regia at OHWOW Gallery.
Interview with the artist by Laura M. Mettam.
Review of Edaphology of a Superterrestial Panmictic Population at Rhona Hoffman Gallery.
Review of Thread Lines at The Drawing Center, New York.
Review of Thread Lines at The Drawing Center, New York.
Review of What is Not Clear is Not French at Rhona Hoffman Gallery.
Review of David Schutter by Josephine Halvorson.
Review of Signal at Rhona Hoffman Gallery.
A look into Natalie Frank's studio in light of her upcoming exhibitions at Rhona Hoffman Gallery, Chicago and The Drawing Center, New York.
Review of The Beast at Hyde Park Art Center.
Review of What is Not Clear is Not French at Rhona Hoffman Gallery.
Review of Robert Heinecken retrospective at the Museum of Modern Art, New York.
Review of Sensing the Technologic Banzai at Cherry and Martin Gallery.
Review of Susan Hefuna at Rhona Hoffman Gallery.
Review of Copywork at Friedrich Petzel Gallery.
Review of Decepción at Mary Boone Gallery.
Review of Chromatic Paintings for Chicago and Blob Paintings at Rhona Hoffman Gallery.
Review of Luis Gispert at at MOCA North Miami.
Profile of Nancy Spero by Phoebe Hoban.
Review of Portable City, Notations, Wind-Up at Rhona Hoffman Gallery.
Review of Threshold II at Rhona Hoffman Gallery.
Review of Between: Stairs and Landings at Rhona Hoffman Gallery
Review of Recent Sculpture at Rhona Hoffman Gallery.
Review of H2O at Rhona Hoffman Gallery.