Dean Rader

6 days ago | altaonline.com | Dean Rader

Once, at the Menil Collection in Houston, a French woman took off her clothes and danced naked in front of Cy Twombly’s epic Untitled (Say Goodbye, Catullus, to the Shores of Asia Minor). Such a performance is unlikely to await you or me, but art can affect people in unexpected ways. And as it happens, Twombly is experiencing an unexpected annus mirabilis. Gallerists: Beware!This article appears in Issue 32 of Alta Journal.

Feb 9, 2024 | artforum.com | Travis Jeppesen |James Cahill |Dean Rader |On Siteglamour

Travis Jeppesen on the 53rd International Film Festival RotterdamRotterdam is a tidy, friendly port city with acceptable architecture and some good public art, including, situated in one of its idyllic central squares, a Paul McCarthy sculpture of a bearded garden gnome wielding an enormous buttplug.

Feb 9, 2024 | artforum.com | Andrew Berardini |James Cahill |Dean Rader |On Siteglamour

Andrew Berardini visits FOG Design + ArtThe long, low growl of a foghorn played its lonesome song over the dark waters of the San Francisco Bay, while from the mouths of two enclosed piers bright lights and festive music twinkled and tinkled over all those gowned and suited for the gala opening of FOG Design + Art.

Feb 1, 2024 | artforum.com | Dean Rader |Slantthe Politics |Michael Corris |Kaya Genç

“Drawing the Line: Michelangelo to Asawa”AS I MOVED THROUGH “Drawing the Line: Michelangelo to Asawa” at San Francisco’s Legion of Honor, I kept thinking about the instant before creation. For me, a poet who writes longhand, there is always a miraculous moment when pencil touches paper, in advance of any mark, when everything seems possible and nothing is known. I’ve heard it can be similar for some artists: the untouched paper an invitation to venture into the exhilarating space of making.

Feb 1, 2024 | artforum.com | SLANTLouise Lawler’s doubling |James Cahill |Dean Rader |On Siteglamour

Louise Lawler’s doubling and the search for an archetypeIN A PHOTOGRAPH from Louise Lawler’s recent exhibition at Sprüth Magers, Los Angeles, the sculpted head of a horse appears doubled. The long-exposure shot, captured as the artist made a swiping motion with the camera, depicts a plaster cast of a statue, once part of the east pediment of the Parthenon, splitting into a pair of heads—a blurred white form, a still-blurrier ghost.