Articles

AS THE WORLD TURNS
Deborah Stratman Gazes Into the Abyss of Time

“I’m not sure satisfaction is a thing I feel while making art. I get satisfied from stuff like getting my laundry done or digging a trench or putting away my books,” mused director Deborah Stratman in a recent interview with Documentary magazine. Perhaps this questing, open-ended relationship to her practice is why, at age 57, Stratman has nearly two dozen films to her name. An associate...

REALM OF THE SENSES
Jónsi’s “VOX” at Tanya Bonakdar Gallery

by Emma Christ

Jónsi, artist and frontman of Icelandic post-rock band Sigur Rós, masterfully crafted a recent show titled “Vox” which challenges the definitions of visual, sonic and olfactory art, merging the mediums to form a multi-sensory exhibition that plays on the viewer’s mind and body. The entry point to the show is Var (safespace) (2023), a tapestry of hundreds of micro speakers draped over a rope...

LOST IN SPACE
The New Restoration of Franco Rossi's "Smog"

by Luca Celada

Franco Rossi’s restored Smog plays like a Nouvelle Vague travelogue, with protagonists seemingly lost in an urban landscape that amplifies their inner malaise. That backdrop is Los Angeles and the long-lost 1962 film (now finally available in a pristine 4K restoration by Cineteca di Bologna and UCLA Film & Television Archives) is also a snapshot of the city in its modernist “adolescence.” At...

FIELD REPORT
Art For All: The Gilbert & George Centre, London

by William Moreno

Gilbert & George, the quintessentially British pioneering queer artist-duo have staked a clear position within the milieu in which they operate. They have scant tolerance for art-world conventions, yet it is precisely that peevishness and their enduring, long-term collaboration that created the context for the creation of their provocatively lurid and iconic works. On a recent trip to...

STAYING INSIDE THE LINES
Painting AI's Possible Future

by Bill Smith

Many consider the AARON project the earliest use of AI in artwork. If AI is the most recent and advanced example of humans using automated processes to make art, then its history goes back much further. So why all the fuss now? Is AI so different than John Cage flipping coins or Jeff Koons exploiting labor? As AI ramps up from being a tool of human artists, could it become autonomously creative?...

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Reviews

Larry Johnson/curated by Larry Johnson
at Reena Spaulings/ O-Town House

In two exhibitions spanning galleries some twenty-minutes apart depending on traffic, Larry Johnson presents his own work alongside that of two other gay artists of a certain age and a certain generation, who lived through the AIDS epidemic of the 1980s and early...

Aria Dean
at Château Shatto

In her still-young career, Aria Dean has shown a remarkable knack for giving the institution exactly what it wants: shrewd work that stings the nerve of the moment without quite stabbing it. In activating the virtual as a conduit for Black radical thought, Dean’s...

Echoes of Voynich: Coded Systems in Contemporary Art
at Wonzimer Gallery

This show at Wonzimer Gallery, organized by contributing artist Marcie Begleiter, is inspired by the Voynich Manuscript, a work that constitutes a parallel exhibition to the show she curated. The Voynich is a mysterious codex from around the year 1410 by an unknown...

Duncan Hannah
at The Journal Gallery

In the early years of cinema, actors were treated as crew members working the conveyor belt of industrialized studio systems. But by the silent-film era of the 1910s, the star system had begun to take hold, with close-ups articulating a visual language of desire...

The Harrison Studio [Newton and Helen Mayer Harrison]
Survival Piece #1: Air, Earth Water, Interface or Annual Hog Pasture Mix (1970-71) at Various Small Fires

Organized in concert with the Getty’s PST ART initiative, this re-mounting of Survival Piece #1: Air, Earth, Water Interface or Annual Hog Pasture Mix (1970–71) — in keeping with the entirety of the Harrison collective’s output — is less about a “collision” (per PST’s...

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