Articles

  • 2 months ago | artforum.com | Yuki Higashino

    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.

  • Jun 1, 2024 | artforum.com | Yuki Higashino

    Curzio Malaparte’s novel Kaputt (1944) opens with an imaginary conversation between the narrator and Prince Eugene, the painter prince of Sweden. In the course of their conversation, they discuss the drawings of Carl Fredrik Hill (1849–1911), the great Swedish painter who created thousands of hallucinatory drawings during his mental illness. Hill, the narrator says, “painted horses as if they were landscapes.

  • May 1, 2024 | artforum.com | Yuki Higashino

    How to unify drawing and colors to create pictures that possess both solid modeling and chromatic brilliance has been a central concern of painters as long as art has been an autonomous discipline. Tintoretto is said to have inscribed on his studio wall, “The drawing of Michelangelo and the color of Titian.” Four centuries later, we are no closer to resolving this tension.

  • Mar 8, 2024 | artforum.com | Bradford Nordeen |Travis Jeppesen |Oskar Oprey |Yuki Higashino

    At Frieze, Felix, and around town Monday night: I felt like Janet Leigh in Psycho, careering up the Pacific Coast Highway, rain spattering my windshield, to attend the Frieze kickoff at the Getty Villa. As I moved about the chic Peristyle Garden architecture, these pigs in a blanket and Impossible sliders felt comparatively brusque. The Regen crew was in full formation, flanking artist Catherine Opie.

  • Mar 5, 2024 | artforum.com | Travis Jeppesen |Oskar Oprey |Yuki Higashino |Piotr Orlov

    Small looms large at the 74th Berlin International Film Festival “YOU’RE NOT A BAD ACTOR; you’re just in the wrong movie.” These words of reassurance, proffered by one of the listless, heroin-smoking New York hipsters in Keren Cytter’s The Wrong Movie (2024)—whose deadpan domestic surrealism revolves, in part, around a new model of iPhone that can be turned into a gun—are rife with an ironic ominousness that parallels the topsy-turvy moral universe of 2024, where one’s options—whether in...

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