Issue 92 June-August 2005
The Importance of Being Earnest
(Or how not to confuse Whimsy or Camp with Ironic Kitsch)
Regarding Evil: A Summit
Massachusetts Institute of Technology
Terence Koh
The Voyage of Lady Midnight Snowdrops Through Double Star Death
View from the Bridge
What are the ever increasing numbers of art school graduates to do?
New Moderns?
Conference
Is The Pen Still Mightier
Are curators responding more quickly to developments in the art world than critics.
Debate: Biennials
The proliferation of biennials has become integral to the explosion of contemporary art. Are large-scale international shows sites for experiment and exchange, or little more than tourist attractions?
Informant
A pessimist's guide to the idle life
Screen Print
Illustrated posters are a creative antidote to insipid commercial film marketing
Laughter, Tears and Rage
Whether pristine or slovenly, a writer's desk is a state of mind
Can Altay
Ankara's public spaces, slide-shows, animations and videos
About Time
In 1968 Ian Wilson made his final sculpture. Since then, he has explored the idea of oral communication as an art form
Germaine Kruip
Shooting stars, passers-by and the view from a window
Note to Self
From index cards to diners, Allen Ruppersberg's approach to making art is replete with endless loops of reference
Marcus Schinwald
Complicity and conflict explored via films, performances, paintings, installations and billboards
As Eloquence Appears
Frances Stark's playful work is as richly literary as it is visually economic
Conditional Tense
Yang Fudong's photographs, films and videos evoke a dream world of unresolved conflicts and extreme sensations
A Theory of Relativity
What is slow?
Donald Urquhart
Queer history, fantasy connections and imaginary alliances
Sharon Lockhart
Sharon Lockhart is an artist who lives and works in Los Angeles. She is currently working on a new film and photographic series addressing the experience of American childhood.
Eccentric Space
Frith Street Gallery, London, UK
By Sally O'Reilly
Keren Cytter
Frankfurter Kunstverein, Frankfurt, Germany
By Amanda Coulson
Matts Leiderstam
Magasin 3, Stockholm, Sweden
By Ronald Jones
Africa Remix
Hayward Gallery, London, UK
By Roland Kapferer
Sharjah Biennial 7
Various locations, Sharjah, United Arab Emirates
By Tom Morton
Susan Hiller
Kunsthalle Basel, Basel, Switzerland
By Michael Hubl
Mateo Maté
Galería Oliva Arauna, Madrid, Spain
By Amanda Coulson
Gerwald Rockenschaub
Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria
By Nicole Scheyerer
Sue de Beer
Whitney Museum at Altria, New York, USA
By Emily Speers Mears
Rob Fischer
Cohan and Leslie, New York, USA
By Megan Ratner
Art Since 1900: Modernism, Antimodernism, Postmodernism
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh,
By Norman Bryson
Thing
UCLA Hammer Museum, Los Angeles, USA
By Lauri Firstenberg
Monuments for the USA
CCA Wattis Institute for Contemporary Arts, San Francisco, USA
By Eve Meltzer
Mark Flores
David Kordansky Gallery, Los Angeles, USA
By Malik Gaines
Goshka Macuga
Kate MacGarry, London, UK
By Peter Suchin
Shannon Ebner
Wallspace,
By Peter Eleey
Just Do It!
Lentos Kunstmuseum, Linz, Austria
By Matthias Dusini
Spectres
Victoria and Albert Museum, London, UK
By Esther Leslie
Robert Gober
Matthew Marks Gallery, New York, USA
By Katie Stone
Jens Haaning
Galerie Nicolai Wallner, Copenhagen, Denmark
By Staffan Boije af Gennas
Kutlug Ataman
The Sorting Office, London, UK
By Peter Suchin
Clare Stephenson
Talbot Rice Gallery, Edinburgh, UK
By Andrew Hunt
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- Goshka Macuga
- Gerwald Rockenschaub
- Art Since 1900: Modernism, Antimodernism, Postmodernism
- Monuments for the USA
- Keren Cytter


















