Ian Bourland is a critic and an art historian at Georgetown University in Washington, DC, USA. He is a contributing editor of frieze.
Twenty years on from the devastating shooting, can its cultural legacy in film and television reframe our present moment?
Body and landscape converge in the groundbreaking painter’s first US retrospective at the Phillips Collection, Washington, DC
J.P. Girault de Prangey’s beautiful yet orientalist pictures are on view for the first time at the Met
Federal museums ensure that art is not merely the purview of the leisured class; the impasse is an abdication of that responsibility
Director Yorgos Lanthimos does away with the prudish niceties of the Merchant Ivory format with satisfying energy
A recent spate of TV shows set in Missouri show the state as a cultural imaginary on the fault line of US political debate
Exotic flora and tentative ‘Afronauts’ speak to a sense of alienation, but throughout the artist’s work runs a current of optimism
I cut my skin to liberate the splinter evokes the dissonance and precarity of post-apartheid South Africa
A collaborative exhibition at the Baltimore Museum of Art and Art + Practice, Los Angeles, explores the lesser-known ephemeral works of the sculptor
Landing only months before the US midterm elections, it’s impossible not to understand the show foremost in the context of the Trumps and Kushners of the world
US true crime series Unsolved takes two formative pop cultural events to explore their concealed human stories and systemic narratives
From The X-Files to The Orville to Black Mirror: what role does sci-fi play in our age of fake news?
‘A countercultural beacon’: Ian Bourland reflects on the artist’s remarkable, six-decade career
Various venues, New York, USA
A year marked by new visualizations, both controversial and celebrated, of the black body
The removal of the Confederate monuments in Baltimore shows decisiveness after years of inaction – already they stand as sites of counter-memory
On the anniversary of the 2016 Orlando massacre, Brendan Fernandes reclaims the dancefloor as a site of resistance
Casey Kaplan, New York, USA
Goodman Gallery, Johannesburg, South Africa
Sikkema Jenkins & Co., New York, USA
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