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I am staring at Tetsumi Kudo, who is staring at Tetsumi Kudo enclosed in a birdcage. I remember vividly the strong draw to the intensity of...
Manzoni and Anal Alchemy
The psychoanalytic cosmology of anality hovering just above Manzoni’s 1961 work ‘Artist’s Shit’ feels both glaringly obvious and abundantly...
A Great Shout of Pure Joy
On the occasion of ‘Jack Whitten’ at Hauser & Wirth Hong Kong, the artist’s first solo exhibition in Asia, on view through 31 July, Ursula is...
How To Peel an Orange
I interviewed Louise Bourgeois in 1998. Well, I say I interviewed her. It was more a case of pressing the button on the camera and seeing where...
Making It Well
When the California Institute of the Arts embarked on its first academic year in the fall of 1970, its identity was defined more by what it was...
I AM THE OBJECT: Jack Whitten’s work of the 1990s
In 2015, Jack Whitten composed a statement that he titled ‘Beyond Abstraction.’ He meant ‘abstraction’ as a mode of visual art that lacks a...
Building Empathy: Hunter MFA Graduates Face an Altered Landscape
Starting 10 November, Hauser & Wirth is hosting an online presentation of thesis work by 19 MFA candidates from New York City’s Hunter College....
Zadie Smith on Henry Taylor’s Promiscuous Painting
The California artist’s subjects are drawn from wildly divergent walks of life—the famous and the down-and-out, the sane and the mad, the rich and...
Lee Lozano: A Timeline
Lee Lozano is one of the most innovative artists to have worked in America during the 1960s. Throughout her entire oeuvre, which spans a little...
‘Monsters Exist Because We Create Them’: Turning to Leon Golub in a Time of Crisis
There is no way to write without writing about the pandemic. Everything is colored by malaise. An online article tells me that my untranslatable...
Memories of Gustav Metzger
The first word that comes to mind when I think about Gustav Metzger is precision. Over the years, we spent many hours sitting at his big blue...
Celebrating Basel Basel
Since its founding in 1970 by the Swiss gallerists Trudl Bruckner and Baltz Hilt alongside legendary dealer and collector Ernst Beyeler, Art...
The Making of Simone Leigh’s Brick House
Simone Leigh’s sculpture, the inaugural High Line Plinth Commission, was first unveiled in June 2019 on New York City’s celebrated greenway....
Symbolic Soldiers: Through images, a feminist artist addresses her male offspring
I am often asked, as an artist and as a feminist who has contended with motherhood in my work, to hold forth on what it is like to have two sons....
Tetsumi Kudo’s New Ecology
‘No matter how, it is important to think about the relationship of polluted nature to the proliferation of electronics’, Kudo states, ‘the...
Enchanted Wanderer: A writer returns to a lost afternoon with Joseph Cornell
On a Sunday afternoon in August of 1971, towards the end of a heat wave in New York, I went to Queens to see Joseph Cornell.
David Smith: A Timeline
Over a 33-year career, American artist David Smith expanded the notion of what sculpture could be, redefining its relationship with the space it...
Berlinde De Bruyckere wax blankets
‘Was there ever anything that came so close to the real?’ the 16th century Neapolitan poet Giambattista Marino asked once in a poem about a wax...
In Double-Light: Greg Tate on Samuel R. Delany’s iconoclastic, intergalactic oeuvre, with Arthur Jafa
‘You know what I do? I listen to other people, stumbling about with their half thoughts and half sentences and their clumsy feelings that they...
Excerpt from drag diary, a travel notebook in progress
Graveside with Scott Covert: Painter of the dead
My first funeral was my grandfather’s. I was eight. It was 1962. To get to the service, we had to drive more than a thousand miles, from suburban...
A Sense of Poetry: On learning from Robert Frank
I knew Robert Frank for more than 40 years, which makes it strange to say that I cannot clearly remember the first time we met in person. But this...
Eduardo Chillida: Searching for Light
Set in the landscape of the Basque Country, Chillida Leku is a unique museum created by Spanish sculptor Eduardo Chillida in his lifetime. Nature...
The Making of Mark Bradford’s ‘Life Size’
Claes Oldenburg once described the ancient art of the print in easy-to-understand contemporary terms: ‘You could say making a print is like...
Stonework: Travels in the art of transience
If things had gone a bit differently, I might have become a bricklayer instead of an artist. As it turned out, bricklaying led me to stonework,...
Behind August Sander’s Portraits
August Sander (1876 – 1964) endeavored to document society across Germany, revealing the complexity and universality of the human condition with...
Luchita Hurtado in Collaboration with Jacob Samuel: New Intimacy in Printmaking
The work Luchita Hurtado has produced quietly over the course of eighty years has been largely defined by both her multicultural context, and the...
Gary Indiana on the psychoanalytic writings of Louise Bourgeois
When I met her, in the mid-1980s, it was by way of a mash note she sent in the mail to the paper I wrote for, not so much thanking me for a review...
Foundations in Printmaking with Matthew Day Jackson
Working across a vast range of materials and processes, Matthew Day Jackson makes work about the ebb and flow of systems—both those that drive the...
Striking Out in a New Direction: John Chamberlain to Leo Castelli
In his classic 1980 New Yorker profile of the dealer Leo Castelli, Calvin Tomkins described Castelli’s traditional division of labor with his...