Critical Theory

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Sarah Oppenheimer by Alexander Galloway
Sarah Oppenheimer 05 Bomb 137

Open floor plans are less open than we think—and ripe for intervention. Oppenheimer’s latest effort is on view at the Pérez Art Museum Miami.

Max Galyon by Jacqueline Humphries

This fall, Max Galyon, at my invitation, mounted an exhibition of his paintings and sculptures in my studio in Sunset Park, Brooklyn. The show was intended to create a setting for spontaneous conversations between artists outside of any commercial context, and was open to the public on certain days.

Fred Dewey’s The School of Public Life by Ammiel Alcalay
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Hovering far below any conceivable radar, Fred Dewey’s The School of Public Life ought to be the cause of more than some disturbance.

Tom Burr by Alan Ruiz
Burr Tom 01 Bomb 134

“Some people are happy calling me an artist, others a Conceptual or post-Conceptual artist, others say sculptor, and others use a string of modifiers. Someone suggested once that I was simply performing these categories, which I like.”

Skinscreen: Art and Poetry at the New Museum’s Surround Audience Triennial by Alan Gilbert
Surround Audience 01

The title Surround Audience evokes the ceaseless ambient noise of the digital age: not only social media but the Internet at large as the general virtualization and modification of human experience, physical bodies, and social interactions.

Maggie Nelson by A.L. Steiner
A L  Steiner 1

“What expression isn’t a negotiation of some sort?”

Renée Green’s Other Planes of There by Thom Donovan
Renee Green

Renée Green’s collection, Other Planes of There, which spans over twenty years of the artist’s career, holds an alluring sense of return for me, offering a kind of fossil record of an evolving debate among progressive artists and cultural critics.

Agnieszka Kurant by Sabine Russ
Agnieszka Kurant 01

Agnieszka Kurant’s interests include various forms of surplus, invisible entities, and the phantoms haunting capitalist production. Some of her projects involve crowdsourcing, others outsourcing to nonhuman species: think colonies of termites.

Nicholas Weist by Ethan Philbrick
Shandaken Project 01

A residency program on view.

Charles Simonds by Christopher Lyon
Simonds 1

Learning to dwell in various landscapes.

Moyra Davey by Elisabeth Lebovici
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Prior to Burn the Diaries, her exhibition at the ICA Philadelphia this fall, Davey exchanged thoughts with Paris-based writer Lebovici on autobiographical writing, the formal potential of aerograms, and scatological confessionalism.

Giuliana Bruno by Sarah Oppenheimer
Anthony Mccall Long Film For Four Projectors

Navigating the concentric interiors of the Glass Pavilion at the Toledo Museum of Art, the building unfolds along a serpentine walkway. Through the museum’s glass walls, the view opens uninterrupted. 

Paul Chan’s Selected Writings, 2000–2014 edited by George Baker and Eric Banks by Alan Gilbert
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Chan is not an artist who also writes; he’s an artist and a writer.

Semiotext(e): 28 Pamphlets for the 2014 Whitney Biennial by Corina Copp
Semiotexte

We are not all Pierre Guyotat, writing of our capture and interrogation in Algerian solitary in 1962, our words and acts subject to violent retaliation, but maybe we’ve seen our own soul’s bifurcation.

Critical Practices, INC. at the Whitney Biennial / “Supposium 2014” at MoMA by Mónica de la Torre​
Whitney Moma

Pythagoras taught behind a veil to avoid distracting his students with his bodily appearance, which he considered an impediment to their pursuit of pure knowledge. His voice was an acousmatic one—its origin could not be identified.

Greg Lindquist by Orit Gat
Stan Allen by Nader Tehrani
Stan Allen 1 Body

Stan Allen’s seminal essay, “Field Conditions,” written almost 15 years ago, still resonates among architects. He confers with Nader Tehrani on landscape urbanism as well as building and teaching “from a position of uncertainty.”

Catherine Morris and Vincent Bonin’s Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art by Frances Richard
Edschoice Lippard Body

Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.

Justin Lieberman by Nic Guagnini

This is a two-part Artists on Artists. Lieberman responds to Nic Guagnini in the second half of this article.

Eija-Liisa Ahtila by Cary Wolfe
Ahtila 8 Body

“Breaking up perspective has long been one of the central themes in my works.”

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