Category Archives: Art

John Martin , The Destruction of Pompeii and Herculaneum (1822, restored 2011)

‘Ruin Lust’ at Tate Britain

At the risk of sounding shallow, the exhibition Ruin Lust seems to arrive 3 or 4 years late. Not that I would wish to equate art with fashion and its whimsical fads, but the obsession with the ruins of Modernism

John Martin , The Destruction of Pompeii and Herculaneum (1822, restored 2011)

‘Ruin Lust’ at Tate Britain

At the risk of sounding shallow, the exhibition Ruin Lust seems to arrive 3 or 4 years late. Not that I would wish to equate art with fashion and its whimsical fads, but the obsession with the ruins of Modernism

View of Braco Dimitrijević, “Early London Years,” MOT International, London, 2014.

Braco Dimitrijević’s ‘Early London Years’

This review was originally published on Art-Agenda in March 2014 Braco Dimitrijević’s current exhibition at MOT International offers a careful selection of early works by this Paris-based, Sarajevo-born pioneer of Conceptual art. The show’s title, “Early London Years,” refers to the period from

View of Braco Dimitrijević, “Early London Years,” MOT International, London, 2014.

Braco Dimitrijević’s ‘Early London Years’

This review was originally published on Art-Agenda in March 2014 Braco Dimitrijević’s current exhibition at MOT International offers a careful selection of early works by this Paris-based, Sarajevo-born pioneer of Conceptual art. The show’s title, “Early London Years,” refers to the period from

Dora García 1

Reading as community: Dora García and The Joycean Society

“In any other time of the past, Joyce’s work would never have reached the printer, but in our blessed 20th Century it is a message, though not yet understood”, said the mystic psychiatrist Carl Jung in the mid 1930s, after

Dora García 1

Reading as community: Dora García and The Joycean Society

“In any other time of the past, Joyce’s work would never have reached the printer, but in our blessed 20th Century it is a message, though not yet understood”, said the mystic psychiatrist Carl Jung in the mid 1930s, after

eye-monster (2013), mixed media, 260 x 394 x 17 cm

Richard Sides at Carlos/Ishikawa

(This review was originally published in frieze magazine #160 January-February 2014) In his 1950 book The Future of Man, the French philosopher and priest Pierre Teilhard de Chardin introduced the concept of the Omega Point to designate the maximum level of

eye-monster (2013), mixed media, 260 x 394 x 17 cm

Richard Sides at Carlos/Ishikawa

(This review was originally published in frieze magazine #160 January-February 2014) In his 1950 book The Future of Man, the French philosopher and priest Pierre Teilhard de Chardin introduced the concept of the Omega Point to designate the maximum level of

Kiki Kogelnik
Dynamite Darling, 1972 oil and acrylic on canvas 183 x 122 cm; 72 x 48 in unique

Review of Frieze Art Fair 2013

This review was originally published on Art-Agenda in October 2013 The ecosystem of Frieze Art Fair in London keeps growing, like a healthy family of good-looking siblings. That is, indeed, exciting, but it is also a real tour de force for visitors, who since last

Kiki Kogelnik
Dynamite Darling, 1972 oil and acrylic on canvas 183 x 122 cm; 72 x 48 in unique

Review of Frieze Art Fair 2013

This review was originally published on Art-Agenda in October 2013 The ecosystem of Frieze Art Fair in London keeps growing, like a healthy family of good-looking siblings. That is, indeed, exciting, but it is also a real tour de force for visitors, who since last

Mark Leckey, Pylons, Nylons & Klossowski AD (2013). Installation view at Frieze Art Fair 2013

Frieze Art Fair: fascination, opposition and the spectre of institutional critique

Like every year in London around mid October, Frieze Art Fair kicks in and all hell breaks loose. The number of reviews and commentaries across the international art press keeps growing with every edition, along with the urgency to cover

Mark Leckey, Pylons, Nylons & Klossowski AD (2013). Installation view at Frieze Art Fair 2013

Frieze Art Fair: fascination, opposition and the spectre of institutional critique

Like every year in London around mid October, Frieze Art Fair kicks in and all hell breaks loose. The number of reviews and commentaries across the international art press keeps growing with every edition, along with the urgency to cover

View of Jack Lavender’s “Dreams Chunky,” The approach, London, 2013.

Jack Lavender’s ‘Dreams Chunky’

This review was originally published on Art-Agenda in July 2013 The group of sculptures gathered here feel like the remnants of some stranded explorer’s dedicated toil, the evidence of an island-bound prisoner bent on making the most of his imposed yet paradisiacal

View of Jack Lavender’s “Dreams Chunky,” The approach, London, 2013.

Jack Lavender’s ‘Dreams Chunky’

This review was originally published on Art-Agenda in July 2013 The group of sculptures gathered here feel like the remnants of some stranded explorer’s dedicated toil, the evidence of an island-bound prisoner bent on making the most of his imposed yet paradisiacal