Suzanne Cotter

  • View of “The Ungovernables,” 2012. From left: Amalia Pica, Venn Diagrams (under the spotlight), 2011; Jonathas de Andrade, Ressaca Tropical (Tropical Hangover), 2009. Photo: Benoit Pailley.

    “The Ungovernables”

    IF THE FIRST NEW MUSEUM TRIENNIAL, “Younger Than Jesus” (2009), was premised on the relative youth of the artists it featured, its second incarnation, “The Ungovernables,” which closed its doors last month, looked to present a generation of artists who are responding to political, economic, social, and personal states of urgency. Resistance, collective engagement, and concepts of citizenship and the civic were central preoccupations that resonated strongly with the contemporary moment. The triennial also reflected a broader cultural shift by which museums around the world have been reconfiguring

  • Suzanne Cotter

    SUZANNE COTTER

    1 Peter Doig (Tate Britain, London) Few artists today are capable of creating narrative painting on such a scale and with such compelling formal and psychological tension. To look at Doig’s paintings is to lose oneself in the constant shifts among figure, ground, and surface. Dreamlike in tone, the works evoke a melancholy and longing that rings true to our postideological moment. In a bold programming move by chief curator Judith Nesbitt, the Tate, frequently associated with its retrospectives devoted to twentieth-century greats, felt truly contemporary in celebrating one of the