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Jan Tumlir

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  • Oct 1, 2024 | artforum.com | Jan Tumlir

    Store and/or access information on a device Cookies, device or similar online identifiers (e.g. login-based identifiers, randomly assigned identifiers, network based identifiers) together with other information (e.g. browser type and information, language, screen size, supported technologies etc.) can be stored or read on your device to recognise it each time it connects to an app or to a website, for one or several of the purposes presented here.

  • Sep 18, 2024 | artforum.com | Bryan Barcena |Ekow Eshun |Jan Tumlir |Eve Hill-Agnus

    Frieze Seoul and the Gwangju BiennaleComing from Los Angeles and its housing issues—born of its charming but inefficient sprawl—it’s impossible to see urban density, and the juxtapositions it creates, as the sign of a well-functioning, twenty-first-century city.

  • Jun 1, 2024 | artforum.com | Jan Tumlir

    John Knight’s exhibition at O-Town House, “Referential Elegance,” consisted of a single piece from 1974. Sitting atop a narrow custom-made pedestal, a Kodak Ektagraphic projector slowly clicked through the slides in its half-full carousel. On the facing wall, a succession of advertising slogans appeared, culled from the Los Angeles Times real estate supplement, promoting properties then up for sale. Some examples: WELCOME BACK TO VILLAGE LIFE; ROOM TO GROW; THERE’S PLENTY OF HOME ON THE RANGE . . .

  • Apr 1, 2024 | artforum.com | Lola Kramer |Rachel Wetzler |Jan Tumlir |Clifford Owens

    JAMIAN JULIANO-VILLANI THE REASON I DO WHAT I DO is because I love art and I love ideas. I’m trying to make the most of the time that I have. Seeing Ashley [Bickerton] go through physical decline, knowing that his time was limited, and watching him prepare his last show changed my entire perspective. He was stuck in a wheelchair, looking at the future, knowing that his next show would happen without him.

  • Apr 1, 2024 | artforum.com | Rachel Wetzler |Jan Tumlir |Clifford Owens |Paul Pagk

    A reflection on the art of Mark RothkoWALKING THROUGH “MARK ROTHKO” at Paris’s Fondation Louis Vuitton this past October, I felt in body, mind, and surely soul the magical embrace of his paintings, their physical presence, their frontal pictoriality letting me into their depths, and a powerful affirmation of the horizon between heaven and earth. Rothko’s color defines shapes, his shapes define boundaries, and these boundaries are rarely hard.

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