Engaged with art writing as I am, it is with some nervous reluctance that I ask myself, what is it? What is it that art criticism, art writing is supposed to do? Keep Reading
“I am not frightened of the truth. I am not afraid to tell a secret. But until now, words have been frailer and more cunning than I would have liked.”
–from Meeka Walsh’s introductory essay to Issue 136: Son et Lumière. Keep Reading
Édouard Levé wrote Autoportrait in 2005. It was followed by his book Suicide in 2007, and then by death at his own hand so shortly after. The English edition appeared in 2012, seamlessly translated by Lorin Stein, editor of The Paris Review, if you can say about a book of apparent fragments that it is seamless… Keep Reading
Meeka Walsh’s introductory essay to Issue 134, the all women issue.
Kim Gordon has just published her memoir, Girl In A Band (William Morrow, Dey Street, 2015) and the opening chapter is called “The End.” After 30 years Sonic Youth, the band she co-founded with Thurston Moore, whom she married three years later, was playing its final concert in a small town outside São Paulo, Brazil, in the rain. Their marriage of 27 years had just ended. The South American tour was a final commitment, the last one to be met as Sonic Youth… Keep Reading
Meeka Walsh’s introductory essay to Issue 133: we are monsters.
Growing up in Canada, I was quietly startled by the intake of breath when I would say the word “evil” to describe someone I knew. I didn’t use the term often, I assigned it carefully but I recognized its application was something that just wasn’t done and I kept the descriptive designation to myself. It’s different now. The term is broadly used to describe countless actions and the designation is received without accompanying questions… Keep Reading
Neil Farber Makes Connections
There is a playful sense of menace in Farber’s work. One blog entry includes a list of “Songs improved by replacing the word love with the word blood,” and among them is “Blood Me Tender,” a tune that reimagines Elvis Presley as a crooning vampire. The imminence of something that approximates tender bloodletting, and other kinds of chaos, is everywhere visible in Farber’s paintings and drawings. These activities are more genial than gruesome. Things forever teeter on the edge of some anticipated occurrence, the conditions and consequences of which are not immediately apparent. Keep Reading
Charline von Heyl and the Life of Painting
“You are aware of the fact that you are looking at something that you cannot describe: that you can only understand or not understand. So you are arriving at a knowledge that cannot be translated into words.” Keep Reading
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