Tim Griffin

Tim Griffin

December 2014

LOCATED AT THE VERY HEART of Christopher Williams’s retrospective, “The Production Line of Happiness,” at the Museum of Modern Art in New York was an image that stood apart for seeming at once so incongruous and yet utterly representative… READ ON

IN PRINT December 2014 [TOC]

“Douglas Gordon: The Only Way Out is the Only Way In”

May 2014

Curated by Juliana Engberg It is sometimes difficult to recall that in the decade just before artists became fixated on the little screen’s splintering fields of information, what prevailed instead was an obsession with the big screen: … READ ON


True Detective


May 2014

RARE IS THE CELEBRATED TELEVISION SERIES that owes its reputation almost entirely to its inaugural episode’s first twenty minutes, but such is the case with True Detective. Indeed, the HBO program—penned by Nic Pizzolatto and starring … READ ON

IN PRINT May 2014 [TOC]

Tim Griffin

December 2013

PROBABLY MOST STRIKING about curator Philipp Kaiser’s incisive retrospective exhibition “Jack Goldstein x 10,000”—originally organized for the Orange County Museum of Art in Newport Beach, California—is the uncanny extent to which … READ ON

IN PRINT December 2013 [TOC]

Rodney Ascher’s Room 237


March 2013

BY SO MANY MEASURES, Room 237 is a diminutive film. Directed by Rodney Ascher (reputed for his 2010 short, S from Hell), it is restricted in scope to the interwoven commentaries of five devotees of Stanley Kubrick’s 1980 classic, The Shining,… READ ON

IN PRINT March 2013 [TOC]

Tim Griffin

December 2012

WRITING DURING A VERY DIFFERENT MOMENT IN ART, scholar and critic Benjamin H. D. Buchloh, seeking to construct a genealogy for contemporary conceptual practices, famously asserted that the artist Robert Morris irrevocably altered the reflexive… READ ON

IN PRINT December 2012 [TOC]

Tim Griffin on art and artifical life

September 2012

CLASSIC WITHIN THE GENRE of science fiction is the figure of the replicant, or android—a wholly synthetic being who is nevertheless, for all immediate intents and purposes, distinctly human, possessing the capacity for emotion and memory, … READ ON

IN PRINT September 2012 [TOC]

Tim Griffin

December 2011

THE TEMPORALITY OF ART’S DISPLAY has always been in dialogue with that of the surrounding culture, and, more acutely, with that of commerce and its cycles of production and consumption. If, for example, during the workers’ reform movements… READ ON

IN PRINT December 2011 [TOC]


September 2011

AMONG THE MORE PUZZLING PREOCCUPATIONS of dialogues around art during the past five years has been “the contemporary,” a seemingly self-evident description that, to date, has operated largely in reverse—that has been put forward, in … READ ON

IN PRINT September 2011 [TOC]

Matt Mullican

May 2011

While other artists during the 1970s were busy exploring how media imagery marks our distance from the world, Matt Mullican was considering the ways such representations are inevitably part of it. … READ ON