visual artist, itinerant art historian, freelance writer
Writing this review was a huge challenge for me in my particular position as an art history graduate student and aspiring artist. I enjoy the challenge of writing about visual and/or conceptual things, but have come to prefer the physical process of making my own drawings and tactile objects…
Dealing with the mountains of delicious desire, [...]
The Bloomberg Commission: Goshka Macuga, The Nature of the Beast, 5th April 2009 – 4th April 2010, Whitechapel Gallery, London
Artist Goshka Macuga uses art history as a springboard to consider global, political and ethical themes. Drawing upon archival research alongside significant visual artefacts she weaves complex, interlocking stories, allowing gallery visitors to explore, learn and [...]
Northern Art Prize, Leeds Art Gallery, 27 November 2009 – 21 February 2010
Shortlisted artists: Pavel Bϋchler, Nick Crowe and Ian Rawlinson, Rachel Goodyear, Matt Stokes
Rosalind Krauss’s two-part essay ‘Notes on the Index: Seventies Art in America’ (1977) argues convincingly that the art of that period was deeply, and not altogether consciously, conditioned by photography’s ‘implacable [...]
ARTIST ROOMS: Agnes Martin, Scottish National Gallery of Modern Art
6 August – 8 November, 2009
Writing on the dancer and choreographer Yvonne Rainer’s deliberate rejection of photogenic poses in the 1960s, Carrie Lambert focuses on the absence of image as an ethical practice. Lambert reads Rainer’s incremental dance moves as a refusal of the ephemeral, [...]
Dance With Camera, Philadelphia ICA, Sept 11 2009 – March 21, 2010
What does it mean to dance with the camera? Jenelle Porter, curator of this first large-scale investigation of choreography made for the screen, focuses on the way in which interdisciplinary practice has ‘demolished creative traditions and hierarchies’, impacting on fine art, cinema, dance and even [...]
Jeff Koons: Popeye Series, Serpentine Gallery, 2 July – 13 September
Writing in the November/December 2008 issue of Frieze, associate editor Dan Fox described a theoretical parallel to the economic ‘credit crunch’ to be found in contemporary art. Labelling it the ‘content crunch’, Fox defines it at as the realisation that ‘meaning in your work [...]
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