• Nick Irvin

    Gentle Wind Project and the art of alternative healing

    The New Age hucksters and/or healers at I Ching Systems aren’t exactly who you’d expect to find at the intersection of art and technology. Yet there’s an undeniable technical magnetism to their so-called instruments: wooden and plastic contraptions overlaid with patterns resembling organelles, circuitry, and hexagrams. Founded in 1983, I Ching Systems, formerly known as the Gentle Wind Project, is a research center that promotes an alternative wellness methodology synthesizing elements of Chinese medicine, particle physics, and color theory; the group has been indicted by the Maine Attorney

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  • Roxy Paine

    On deep time and material poetics

    For over three decades, Roxy Paine has created virtuosic sculptures that examine how technological mediation processes and reformulates nature. His most recent work takes the shape of painted grids of extruded epoxy that transpose immaterial pixels into sculpted cubes in relief. The resulting image is often at odds with its surface, recalling the process of serigraphy or the painstaking pointillism Georges Seurat. These recent paintings and dioramas form the core of Paine’s exhibition “Sedimentary Lens,” on view at the SCAD Museum of Art in Savannah, Georgia, through January 23.


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  • Martha Rosler

    Martha Rosler on the changing face of feminism

    In the mid-1960s, Martha Rosler began creating photomontages exploring women’s material and psychic subjugation, manipulating popular advertisements from news, fashion, and home magazines to unearth their nefarious ideological operations. Rosler made this body of work, “Body Beautiful, or Beauty Knows No Pain,” (1966–72) alongside painting, sculpture, photography, video, and performance, stitching together a variable array of Conceptual art practices attuned to feminist politics. This set of critical tools informs “martha rosler: changing the subject…in the company of others,” a survey of the

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  • Himali Singh Soin

    The quantum entanglement of all mountains

    “Static Range,” Himali Singh Soin’s solo exhibition at the Art Institute of Chicago, invites viewers into a toxic, lovelorn nuclear landscape. The show draws its inspiration from a tragically absurd episode in Cold War history involving a four-pound plutonium device that the CIA and Indian Intelligence Bureau misplaced in the Himalayas. Building on a long-term project that counters official history by animating the nonhuman subjectivities at its margins, Soin utilizes poetry, music, animation, an artists’ book, textiles, and ceramics to speculate on ecological grief and climate catastrophe, as

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  • James Little

    Fear and transcendence in abstract painting

    Poised and self-assured, James Little stands beside a pair of buckets, each filled with a different shade of black paint, in the Brooklyn studio where the artist has worked for three decades. The Memphis-born painter of absorbing abstractions—whether hallucinatory monochromes or variegated, potpourri-like surfaces—has been making all-black paintings for a decade, committing to each canvas for three or four months. In these works, contained geometries explode with nocturnal luminosity in concert with the viewer’s sways, and tightly orchestrated stripes play silent recitals of light, form, and

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  • Henrike Naumann

    The conspiracy in your living room

    Growing up in a newly reunified Germany, Henrike Naumann witnessed widespread transformations in visual culture, from popular television programming to the seating from which that programming was consumed. Working with furniture and video, the Zwickau-born, Berlin-based artist considers how seemingly innocuous aesthetic sensibilities align with and promulgate a host of political ideologies. Her first US solo exhibition, “Re-Education,” on view from September 22 to February 27 at SculptureCenter in New York, parses parallels between reactionary movements in the United States and Germany as it

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  • Christian Marclay

    A follow-up to The Clock, twelve years later

    Christian Marclay likes to play with doors. His early sculpture Armoire, 1988; the door slamming in Video Quartet, 2002; and his series of screen prints Door (The Electric Chair), 2006, are just a few examples. Here, he speaks about his latest work, Doors, 2022, a video made of snippets from various movies, and his difficulties editing it. Door after door, room after room, the 54-minute loop runs on like a rhyming game. Placed near the exit of his survey at the Centre Pompidou in Paris (curated by Jean-Pierre Criqui, through February 27), it sends us on our way while holding us back. At every

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  • Vince Aletti

    A photography critic’s life in images

    One of what seems like only a handful of working photography critics today, Vince Aletti is also a prolific collector of print ephemera, much of it archived within a single massive filing cabinet in his longtime East Village apartment. Below, Aletti talks about his new photobook, The Drawer, which shuffles this matter into alluring, Warburgian juxtapositions of high and low, iconic and unknown. Mapped out over the course of a single afternoon, the book is a meditation on how images shape desire, a remedy to the cold calculations of the algorithm, and the wordless memoir of a great and grateful

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  • Fred Eversley

    A West Coast pioneer’s overview effect

    Fred Eversley has dedicated his five-decade career to abstract sculptural meditations on energy. Working in Venice Beach since the early 1970s, Eversley drew upon his experience as an engineer and elements of the Light and Space movement prevalent in Southern California at the time to develop the lens-like parabolic objects for which he is best known. The survey exhibition “Fred Eversley: Reflecting Back (the World),” on view through January 15, 2023, at the Orange County Museum of Art, provides an occasion to reflect on the work of the octogenarian artist, who recently relocated to New York

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  • David Hartt

    Digging up modernist myths at the Glass House

    Last spring, David Hartt unveiled “A Colored Garden,” a dense circle of blooms in the lower meadow of Philip Johnson’s Glass House planted with flowers found in still lifes by a Black nineteenth-century artist named Charles Ethan Porter. This year, the blooms are back, accompanied by a neo-mythological film in Johnson’s self-glorifying gatehouse-cum-visitor’s-center and, down the hill, an installation of Porters in Johnson’s personal trefoil painting gallery. It’s still the house modernism built—the architect’s taste for Arcadia sits next to his Nazi sympathies—but, says Hartt, Johnson’s aren’t

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  • Rasheed Araeen

    A Minimalist pioneer’s reflections on Islam and modernity

    Throughout his nearly six-decade career as an artist, curator, writer, and publisher, the Karachi-born, London-based Rasheed Araeen has shaped the trajectory of modern art from the margins. Curating pathbreaking exhibitions such as “The Other Story: Afro-Asian Artists in Postwar Britain” (1989) and establishing the critical journals<em> Black Phoenix (1978–79) and Third Text (1987–), Araeen helped build the groundwork for a more robust, global vision of art history. More recently, he has examined the contributions of Islamic philosophy on the development of modernism. On occasion of his new

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  • Oliver Ressler

    How can artists confront the climate crisis?

    For twenty years, Oliver Ressler has been making videos on topics such as capitalism, democracy, racism, and ecology. Below, he discusses “Barricading the Ice Sheets,” curated by Corina L. Apostol at Tallinn Art Hall as part of the artist’s wider research project involving six exhibitions across Europe that focus on the climate movement. On view through November 6, the Tallinn show features the six-channel video installation Everything’s coming together while everything is falling apart, 2016–2020, which follows environmental activists as they plan and carry out blockades and demonstrations in

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