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Alex Kitnick on the art of Wolfgang Tillmans
WOLFGANG TILLMANS HAS CREATED an image of contemporary Europe that a lot of people carry around in their heads. Not the Colosseum or the Arc de Triomphe or even the Eiffel Tower, but easyJet, English,

Giuseppe Penone
Every time we touch something, evidence of the encounter persists. Even if the trace is a nearly imperceptible veil of oil, the disturbance of a layer of dust, or, reciprocally, the activation of nerve

Alexandro Segade on the Ororocene
A REDDIT USER POSTS, “My mom told me to unalive myself because I am gay.” The thread responds (and I paraphrase, slightly): “Your egg donor sucks and doesn’t deserve the term ‘mom.’” To unalive

Joan Snyder
Joan Snyder’s abstractions, bold and delirious responses to nature, are imbued with intense feeling. Take Symphony of Pain and Joy, 2022—one of the seven canvases in “To Become a Painting,” her exhibition

Molly Warnock on the art of Pierre Buraglio
SOMETIME IN 1975, Pierre Buraglio began gathering discarded windows from demolition sites in Paris. Pickings were plentiful. The fourteenth arrondissement, where he had a studio, was undergoing

Connor Marie
Each of Connor Marie’s slick quadrangular canvases here showcased a young female face, closely cropped, the surfaces of the paintings pressurized by the subjects’ glazed-over eyes, their expressions at

“THIS PERIPHERAL, outsider vantage point is essential for my work,” the multihyphenate artist Pippa Garner said in 2018. “If I get too comfortable, there go the ideas.” On the occasion of Garner’s

Abbas Zahedi
In Abbas Zahedi’s exhibition “Metatopia 10013,” a hanging loculus posed architectonic questions. This centerpiece, Waterphone & Automatic Sprinkler Prototype (10013) (all works cited, 2022), was a

Travis Diehl on Alexis Smith’s Same Old Paradise, 1987
IT TOOK THE MAGIC of two Hollywood scene painters to blow up Alexis Smith’s sketch of an orange-crate label to mural size. Same Old Paradise, 1987, is a monumental work, monumental like studio films

Jill O’Bryan
Moon, mesa, sky, air—with singular intimacy, Jill O’Bryan attends to the fundamental elements of earthly life. Hers is an attention that attunes not only to the wondrous matter of the world—striated

Sean Tatol on the art of Libby Rothfeld
WHAT DISTINGUISHES Duchamp’s readymades from later artists’ found objects is that, as the first appropriated artworks, his were not yet automatically perceived as art. A urinal, a bottle rack, an

Jill Magid
Jill Magid’s show at Labor was also the fourth iteration of her traveling exhibition “Tender,” which was previously presented in Chicago, Fort Worth, and New York, or maybe the fifth, if you count the

Natalia Brizuela and Julia Bryan-Wilson on the art of Jumana Manna
EXAMINING THE ETYMOLOGY of forager reveals that the word has evolved to convey starkly distinct meanings. It appears in fifteenth-century English to describe someone who roves in search of sustenance;

Maeve Gilmore
Cats, children, dolls, interiors, still lifes, and contemplative self-portraits were not Maeve Gilmore’s only subjects, though they dominated a captivating display—her first institutional exhibition—at

Barbara Chase-Riboud shares her top ten
After graduating from Yale University’s School of Architecture and Design, Barbara Chase-Riboud moved to Europe and spent decades traveling the world, living at the center of numerous artistic, literary,

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