Trust Survey 2018

Adrian Piper has taken care to explain that her work in philosophy, her “day job,” as she writes, is not a mirror image, in another guise, of her work in visual art....Read more

Editor’s Letter

There was a distinct feeling that art market actors had run headlong off a cliff but had not yet mustered the courage to look down. …Read more

In the Studio: Alan Michelson

You could say that the Indigenous site is almost always a nonsite, an abstraction or documentary representation of a site that may no longer exist. …Read more

Taste Venues

Pat Hearn and Colin de Land's galleries were deconstructing themselves and received art history in real time, operating in a constant state of autocritique.…Read more

Delacroix’s Modernism

Few artists had so decisive an impact on modern art as the painter and graphic artist Eugène Delacroix. …Read more

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Charline von Heyl’s oeuvre is characterized by its elusiveness: over the past three decades, she has persistently refused to develop a cohesive style, instead moving freely between disparate painterly modes. Borrowing elements from various sources—Cubism, Informel, Minimalism, and graffiti, to name only a few—she approaches the history of painting since modernism as if it were a toolbox, a set of available tropes and techniques waiting to be s

trategically deployed whenever they suit the demands of a given composition. Von Heyl, who has been based in New York since the mid-1990s, began her career in Düsseldorf and Cologne, where she belonged to a milieu dominated by painters, like Martin Kippenberger, Sigmar Polke, and Albert Oehlen, who thought ironic deflation was the medium’s only viable path. Von Heyl disagreed. Her compositions might put forth unexpected shifts and collisions that produce a “kind of visual mindfuck,” as she put it in a 2010 interview with Bomb magazine, but she does not intend such effects to be subversive gags. Motivated by a sincere belief in painting’s ability to elicit transformative aesthetic experience, she aims to slow viewers down and trap their gaze. “What I’m trying to do is create an image that has the iconic value of a sign but remains ambiguous in its meaning,” she said. “It...

“Caring for myself is not self-indulgence,” wrote poet and activist Audre Lorde in 1988. “It is self-preservation, and that is an act of political warfare.” The concept of self-care has its origins in the Civil Rights and feminist movements. However, these radical roots have been obscured by the contemporary wellness industry, which promotes elite forms of consumption meant to foster physical and mental health. Organized by Amanda Donnan, cu

rator at the Frye Art Museum, “Group Therapy” features works by twelve artists who examine the notion of self-care from multiple angles and question how the museum itself might function as a site for catharsis and healing in the context of neoliberal capitalism.Several of the works reclaim the political stakes of Lorde’s original call for self-preservation. Displayed near the exhibition entrance, Kandis Williams’s large-scale collages are composed of dozens of images of hands photocopied from photographs of 1960s civil rights activists and assembled into symmetrical arrays. Like the Rorschach inkblot tests they resemble, these collages suggest a diagnostic function, asking viewers to assess the preconceived ideas they may hold about the history of racialized trauma and activism in America. The psychological basis of political commitment is underscored further by Liz Magic Laser...

Whether the theme is love, war, or death, myths have provided artists a rich source of visual and conceptual material for millennia. The beauty lies in part in their malleability. Generation after generation, such stories prove to be fitting vehicles for exploring current political issues and events. About a decade ago, New York–based painter Kyle Staver (b. 1953) shifted from portraying domestic tableaux drawn from her own life to employing myths

and legends, often foregrounding the role of female protagonists. In such works, she has maintained her distinctive style, in which chunky, monumental figures (the artist began her career, in Minnesota in the 1970s, as a sculptor) inhabit compositions that have some relation to the rigorous, atmospheric work of the late figurative painter Lennart Anderson (a mentor of hers) and often convey a subtle humor.Her recent show at Zürcher comprised twelve large oil paintings, a selection of related works on paper, and six small clay reliefs. The reliefs were titled as studies for Staver’s paintings, even if in some instances—according to the dates, as John Yau pointed out on Hyperallergic—she made them afterward. In the painting Swan Flight (2017), a coral-colored woman rides a swan through a misty sky dense with pink clouds. She, the swan, and the swans behind them are seen head-on and...

Most artists exhibiting in the Secession’s main gallery leave the space a perfect white cube. Not Anthea Hamilton. For “The New Life,” her first solo exhibition in Austria, she covered the floor, walls, and ceiling of the room in a dizzying large-scale tartan pattern in red, blue, and purple: the Hamilton tartan. The patterning gave one the impression of having walked into a setting from an early video game or a scene from a David Lynch movie.

Its gridded quality—which echoed that of the ceiling lights and the rectilinearity of the architecture—also highlighted the nature of the gallery as a sort of stage defining where and how artworks should be displayed. Playing with such logic, the Turner Prize nominee populated the space with surreal, humorous sculptures and assemblages. Three giant fabric butterflies appeared to have alighted on the walls, while a fourth, perhaps having crashed, lay at the foot of a steel sculpture resembling a hashtag. A plump stuffed moth—the butterflies’ homelier cousin?—slumped against a wall, as if it had gorged itself on too many clothes (Cloak Moth, 2018). Themes of food and fashion commingled throughout the show. At the entrance was a work in which a life-size cutout (from a 1973 Helmut Newton photograph) of a young singlet-wearing Karl Lagerfeld reclining on a bed is set on a pedestal...


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Bruce Nauman, Pat Hearn and Colin de Land, Adrian Piper, Alan Michelson