REVIEWS

“Myths of the Marble”

HENIE ONSTAD KUNSTSENTER, Oslo

Ignas Krunglevičius, Skin Currencies, 2017.
by

Ben Eastham

The phrase “make-believe media” was coined by Michael Parenti in 1991 to describe how the United States’ entertainment industries reproduce myths that justify the unequal distribution of power. The racism, militarism, and misogyny coded into pop cultural forms like the television drama, he proposed, do not reflect social realities so... continue reading
Sophia Al Maria, Black Friday, 2016.
by

Anna Wallace-Thompson

Qatari-American artist Sophia Al Maria has long examined the architecture, urban planning, and customs of what she calls “Gulf Futurism,” including the phenomenon of mall culture. Her solo show in Dubai presents a new iteration of works exhibited last year at the Whitney Museum, New York, which further that investigation. The... continue reading
Art Basel Hong Kong

ART BASEL, Hong Kong

Art Basel in Hong Kong 2017.
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Daniel Szehin Ho

Twenty years after the handover of sovereignty from the United Kingdom to China, Hong Kong stands at a crossroads. The generation to come of age in the intervening decades has become restless, frustrated by the rejection of demands for universal suffrage (the election for the next Chief Executive takes places... continue reading
Double Take—Whitney Biennial 2017

WHITNEY MUSEUM OF AMERICAN ART, New York

View of Whitney Biennial 2017, Whitney Museum of American Art, New York, with works by Kaari Upson.
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Chris Sharp and Genevieve Yue

Double Take is a feature of art-agenda in which two authors review the same exhibition. Written independently, the two texts share the same images and are published below. —by Chris Sharp The stakes surrounding this Whitney Biennial are, to say the least, high. Indeed, it’s hard to imagine a biennial being under... continue reading
Sharjah Biennial 13: Tamawuj

SHARJAH ART FOUNDATION, Sharjah

Official Opening of Sharjah Biennial 13.
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Melissa Gronlund

Bottles of seawater sit among makeshift red flags on charred concrete breezeblocks. “It’s like a fire,” says the artist, Dineo Seshee Bopape, of her installation, +/– 1791 (monument to the haitian revolution 1791) (2017), which is scattered about the courtyard of one of Sharjah Art Foundation’s warren of spaces. Small... continue reading
Judith Bernstein, Judith, 2017.
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Sabrina Tarasoff

There is no image more prescient of modern displays of masculinity and status than Judith Bernstein’s drawing COCK IN THE BOX (1966), inspired by a history of Vietnam-era bathroom-stall graffiti. Whether those lewd sketches were made to parody politics in wartime, as comic relief for those on the john, for... continue reading

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