Mining Nostalgia
An exhibit of apartheid-era photographs by David Goldblatt presents them without adequate context and loses a huge opportunity....
How Far and How Fast We Have Come: On “The NASA Archives: 60 Years in Space”
M. G. Lord recalls the US Moon landing through Piers Bizony’s “The NASA Archives: 60 Years in Space.”...
Tell It Slant: The Visionary Architecture of Claude Parent
Claude Parent’s designs were decades ahead of their time....
Deana Lawson’s Curtains
Megan Liberty appreciates Deana Lawson's work as well as her new book, "Deana Lawson: An Aperture Monograph."...
Talking with Lynne Tillman About the Everlasting Fight for Women’s Independence
Karine Leno Ancellin talks to novelist-critic Lynne Tillman about selective memory, the postmodern glut of imagery, and the uneven progress of feminism....
Learning to See: María Gainza’s “Optic Nerve”
A newly translated novel from Argentina explores visual art, social class, and the bonds of family....
The Customer Is Wrong: The Commodity and the Work of Art
Adam Theron-Lee Rensch reviews Nicholas Brown’s “Autonomy: The Social Ontology of Art under Capitalism.”...
Histories of Violence: Thinking Art in a Decolonial Way
Brad Evans speaks with Lewis R. Gordon, author of “What Fanon Said.” A conversation in Brad Evans’s "Histories of Violence" series....
The Last 10 Percent: A Conversation with Grey James
John McIntyre talks to Los Angeles–based artist Grey James about his new show at Bert Green Fine Arts in Chicago....
On “Manifesto”
Julian Rosefeldt’s "Manifesto" declares itself as a series of canny thefts....
The Light of the Bosphorus: Orhan Pamuk’s Photography in “Balkon”
In "Balkon," Pamuk relies on photography to provide context as well as archival evidence. The photographs become part of the process of writing....
Whose Eyes Are These?
The Gypsy Girl, however, is nothing but eyes. No part of her makes her foreign or insists on her difference. She is whatever you would like her to be....
