After Party

Matt Keegan talks about his artist book 1996 and the past and future Democratic Party

Capitol Records

J. Hoberman on Jayden X’s Shooting and Storming of the US Capitol in Washington DC

Earthly Delights

Tourmaline talks about pleasure, freedom dreaming, and her new solo show

All Systems Go

Elvia Wilk on ecosystemic fiction

Image Conscious

Jasmine Sanders on the Black Romantic

Celestial Body

Lizzie Homersham on Michael Clark

Point of No Return

Alex Kitnick on the discontent with museums

Philip Guston

Five contributors consider Guston’s oeuvre

Openings: Nash Glynn

Hari Nef on the art of Nash Glynn

print reviews

Yokohama Triennale 2020

Yokohama Museum of Art and PLOT 48
Yokohama

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previews

“Vida Americana: Mexican Muralists Remake American Art, 1925–1945”

Whitney Museum of American Art
New York

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critics' picks

Cecily Brown

Blenheim Art Foundation
Woodstock

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must see

New York

PRINT May 2018

JENNIFER PACKER

Beau Rutland

JENNIFER PACKER PAINTS intimate pictures. Her source material ranges from photographs to sittings to imagined scenarios, but the subjects are always the people she is closest to—friends, fellow artists, relatives, lovers. Unlike other contemporary artists who claim the portrait as their métier, Packer isn’t aiming to glamorize anyone, much less idealize them. She showcases ambiguity and hints at the fissures and contradictions of personality. With complex, confident paint handling and an increasingly restrained palette, she conveys affection and concern, yet establishes a respectful distance