My column in the March issue of ArtReview. "It’s an early January evening at London’s ICA. I’m here as part of a panel debating whether or not we’re witnessing ‘The End of the Artworld…?’ Alongside me are The Art Newspaper’s newshound editor-at large Georgina Adam, the avuncular Cork Street dealer James Mayor and youngster commercial… Continue reading The end of the artworld
My column for the January-February issue of ArtReview. Read the whole issue for free here The extreme mix of art and money that makes up a large part of the artworld has few defenders at the moment. After all, how can the values of art – which is supposed to be something good, exemplary or… Continue reading Critical value and market value way out of whack? So what?
I'm one of the speakers on this panel discussion, next Saturday, 19 January, 5pm Book tickets here ICA Quickfire: The End of the Art World...? 19 January 2013 £5 / Free to ICA Members Chaired by Gregor Muir (ICA Executive Director), this Quickfire talk addresses the profound sea change presently gripping the art world. Muir… Continue reading ICA Quickfire panel discusssion
My latest review for Art-Agenda Berlin-based Natascha Sadr Haghighian’s exhibition at Carroll / Fletcher might appear visually spare, but with each work, Haghighian draws you further into a game of institutional hide-and-seek, in which visibility and invisibility, the act of remaining hidden and being revealed, are played out as Machiavellian manipulations of the conventions of spectatorship… Continue reading Natascha Sadr Haghighian at Carroll/Fletcher, London
My column in September's ArtReview magazine. Read the entire issue for free at www.artreviewdigital.com "Do you remember things? Actual things? And you could touch them, couldn't you, remember? The physical world, I'm talking about -- remember it, older people? Matter? The older people, they remember… actual matter. Remember? Things? And it was all real and it all existed, yeah? Not like now." I'm watching… Continue reading Fear of things
"There are artworks that work on the viewer’s apprehension of an implied absence, and then there are artworks that simply stand there waiting for that apparent lack to be filled in by contextualizing talk. The former has something to do with aesthetic experience, the latter with a loss of interest in it, and standing among… Continue reading Yto Barrada’s ‘Mobilier Urbain’ at Pace Gallery London
Bruce Sterling’s recent essay on the New Aesthetic has pushed into motion a public discussion about what was, up until now, only a cluster of loose propositions and speculations by an energetic group of enthusiasts. For those not in the loop, the New Aesthetic is a term coined by digital artist James Bridle, to throw… Continue reading We are the droids we’re looking for: the New Aesthetic and its friendly critics
My column in April's ArtReview magazine. Read the entire issue for free at www.artreviewdigital.com What’s the value of an art college education? And is it really worth getting into shitloads of debt for? That’s the question that continues to grind away in the world of UK higher education, as students this year begin to face… Continue reading The value of art school?
It may be cold in Europe at the moment, but in the fraught relationship between art and the political world, things only seem to be getting hotter, with controversies breaking out all over the place. A characteristic of recent upsets is the way that artists’ freedom of expression comes into conflict with public and private interests, especially when this freedom shifts from ‘artistic’… Continue reading Art, politics and branding
"I've got a game on my phone which consists of a grid of randomly coloured spots. It looks a bit like one of Damien Hirst's many spot paintings. But at least with the game on my phone, if you get a row of the same colour, the spots go away..." My review of Damien Hirst's… Continue reading Damien Hirst’s Complete Spot Paintings at Gagosian