REVIEWS

/ Marc Foxx
View of Frances Stark’s “Bobby Jesus’s Alma Mater,” Marc Foxx, Los Angeles, 2014.
by

Jonathan Griffin

About three years ago, something unexpected happened in Frances Stark’s art. After two decades of making work about herself—about her anxieties and obsessions, her identity crises and motivational struggles—she started making work about other people. Stranger still, her subjects became, in most instances, young men of color. Stark’s current exhibition... continue reading
Guido van der Werve

MARC FOXX, Los Angeles

Guido van der Werve, Nummer veertien, home, 2012.
by

Andrew Berardini

I’m just about to cry when he goes and does something ridiculous. My weepiness is more a wet testament to my propensity to weep than it is in the weepworthiness of whatever I’m watching, which in this case is Guido van der Werve in his latest film, Nummer veertien, home (2012).... continue reading
Amalia Pica, Endymion’s Journey,  2011.
by

Joanna Fiduccia

When the term “romantic conceptualism” reached its apotheosis several years ago, the touchstone appeared, almost unanimously, to be Bas Jan Ader’s I’m Too Sad to Tell You (1971). Gushing affect, it also self-reflexively performed the romantic artist’s predicament: the subjectivity romanticism gives license to profess proves, alas, incommunicable. Consistently and... continue reading

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Cardi Black Box
Carolina Nitsch
Brooklyn Rail
Peres Projects
Sprueth Magers
sp-arte
galeria nara roesler
Vitamin creative space
art-agenda
Hilger
The Third Line
MIA Art Fair
ArtAsiaPacific