REVIEWS

/ QUINN LATIMER
National Pavilions

55TH VENICE BIENNALE, Venice

View of Anri Sala, Ravel Ravel Unravel, 2013.
by

Quinn Latimer

National pavilions can come in all different forms—naturally. Consider, for example, my first night in Venice, where I found myself at a grand palazzo for a dinner collectively hosted by Sadie Coles, representing England; Jose Kuri and Monica Manzutto, representing Mexico; and Gavin Brown and Barbara Gladstone, here representing the... continue reading
Documenta 13

BROTHERS GRIMM MUSEUM / DOCUMENTA-HALLE / FRIDERICIANUM / GLORIA CINEMA / HAUPTBAHNHOF / KARLSAUE PARK / NEUE GALERIE / ORANGERIE / OTTONEUM / STäNDEHAUS / UNTERE KARLSSTR. 14 AND OTHERS, Kassel

Kunsthalle Fridericianum Rotunda, Kassel.
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Quinn Latimer

“When we read, there is a voice inside our minds that narrates aloud, but silently, in what has been termed ‘subvocalization.’ Our accelerated way of life—the dissemination of speed-reading techniques, for example—dissolves that voice. In response, the Writers Residency seeks moments of ‘chorality’: instances of mutual commitment, whether loud or... continue reading
Marjetica Potrč, Acre: Rural School, 2012.
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Quinn Latimer

A few months ago there was a photograph circulating on Facebook that made my stomach turn. Not knowing where to find it now, I simply (if wincingly) typed into Google the following: “photograph of Indian chief crying.” The image immediately appeared, conjured magically out of the internet ether. There he... continue reading
Diane Arbus & August Sander

EDWYNN HOUK GALLERY, Zürich

Agust Sander, Middle Class Children, 1925.
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Quinn Latimer

Up to their knees, they’re identical: laced-up leather boots, pale socks, paler legs, shadow-strewn knees. Then difference begins. On the left, ruffles become a dress. On the right, checked shorts become a white shirt, become a soft bow tie knotted under a boyish face. Soft bangs falling over his forehead,... continue reading
Art Basel

ART BASEL, Basel

Petrit Halilaj, Kostërrc (CH), 2011.
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Quinn Latimer

How does one write about an art fair? Dear reader, I am being sincere. If one is not an art market journalist gleefully scribbling down the cost of a collector or celebrity’s (or celebrity collector’s) pre-preview purchase of huge German neon painting, my question is less rhetorical than the subtext... continue reading
Louise Nevelson, End of Day XXII, 1972.
by

Quinn Latimer

It is difficult to describe the intense pleasure afforded by this small, precise exhibition of works by Louise Nevelson and Isabelle Cornaro. Although four decades separate these two artist’s series on view, their striking affinity lies in a shared interest in limits—each explores the frame and the monochrome—and the infinite... continue reading

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Vitamin creative space
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Anton Kern Gallery
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MIA Art Fair
Camera Austria