PAGE TURNERS

Sara Marcus on Heresies

WEIRD SISTERS

Ivana Bago on Sanja Ivekovic’s Whether We Were Brave

ART’S UPRISINGS: ACTIVISM NOW

SIT AT THE FEET OF ACTION

RISE TO THE OCCASION

Claire Bishop on the art of political timing

previews

PAUL MPAGI SEPUYA

Contemporary Art Museum St. Louis
St. Louis

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print reviews

Vivian Browne

RYAN LEE
New York

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critics' picks

Iiu Susiraja

Kiasma Museum of Contemporary Art
Helsinki

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must see

New York

Philip Vanderhyden on curating Gretchen Bender and his work with computer graphics software

New York–based artist Philip Vanderhyden talks about curating and reconstructing the work of Gretchen Bender (1951–2004) for shows at the Poor Farm in Waupaca County, Wisconsin (2012); The Kitchen in New York (2013); and the 2014 Whitney Biennial. He also discusses his work for FRONT International: Cleveland Triennial for Contemporary Art (2018) and his collaboration with artist and musician Stuart Argabright for a forthcoming event at Brooklyn’s ISSUE Project Room, which is copresented with Red Bull Arts New York.

PRINT September 1996

Basquiat

David Rimanelli

WELL, IT’S REALLY not that bad.

That was my gut reaction to a screening of artist Julian Schnabel’s directorial debut. Previous ’80s-artist-becomes-filmmaker vehicles (David Salle’s Search and Destroy, Robert Longo’s Johnny Mnemonic) had been poor precedents at best, and long delays in scheduling the screening had led me and others to speculate that the film’s distributor, Miramax, had gotten cold feet; but I left Basquiat (a flat-footed retitling of Schnabel’s original Build a Fort, Set It on Fire) with a peculiar sense of pleasure and/or relief. The ordinary expectations of schadenfreude had