Reimagining the human body. Lucy Kim, Auto-Synthetic (Wooden Birds), 2018. Oil paint, urethane resin, fiberglass, epoxy, spray paint, powder-coated aluminum frame. 37 x 23.5 x 3 inches. Photo: Tony Luong. Courtesy of the artist. © Lucy Kim. When Lucy Kim and I were roommates while attending grad school at Yale, she molded large sections of our apartment in aluminum foil. She prepared big sheets of aluminum by joining the narrow strips from standard kitchen rolls, and,...

The art and politics of Korean skin care. Installation view of Universal Skin Salvation. Image courtesy of the artist. Tiffany Jaeyeon Shin creates work about the fetishization of skin by reverse engineering its laboratories. In her film and installation work, the aesthetics of Sephora, Glossier, and the crisp imaging pivotal to their influence is referenced, with the caveat: no products are sold here, no lifestyle extended or promoted. Instead, the language of haunting is invoked. Of...

An artist’s index of the strange. Sydney Shen studio. All photographs by Danni Shen. It’s a cold, clear day when I arrive outside Sydney Shen’s studio building in Ridgewood, Queens. Her donning of all white might cause one to envision an angelic figure arriving under the blinding sky. Sporting a denim jacket—on which the rhinestone silhouette of a jumbo shrimp is applied onto the surface of a Dystopia backpatch—over an airbrushed Slenderman tee made at...

The New York-based artist discusses collaboration, deskilling, and life after the end of the world. Two-Factor Authentication, 2018. Oil paintings on dual LCD mount. Image courtesy of the artist and Luce Gallery. I first came across Caitlin Cherry’s work through her excellent Instagram account, where she jokes about her art (one of her paintings mocks her for ripping off George Condo), posts pictures of her sphynx cat, and displays new work (recently, a tote bag...

Ann Hamilton in collaboration with Anne Bogart and SITI Company, performance view of the theater is a blank page, 2018. Photo by Reed Hutchinson. Courtesy of UCLA’s Center for the Art of Performance. In 2008 I had been living in New York City for about a year, cobbling together work as an artist assistant, when I received a message from Ann Hamilton’s studio inquiring about helping with an upcoming project, human carriage, at the Guggenheim Museum. For...

Rediscovering a “maverick” female artist from the ’70s . Ree Morton, The Plant That Heals May Also Poison, 1974. Enamel and glitter on wood and Celastic; five light bulbs. FWA—Lieve Van Gorp Foundation for Women Artists. Courtesy Alexander and Bonin, New York, and the Institute of Contemporary Art at the University of Pennsylvania. © Estate of Ree Morton.  Ree Morton: The Plant That Heals May Also Poison, curated by Kate Kraczon, Laporte Associate Curator at the...

Featuring selections by Matthew Jeffrey Abrams, Emmanuel Iduma, Kaitlyn A. Kramer, Ashley Stull Meyers, and more. Samantha Wall, Sisters, 2018. Gold leaf and ink on Dura-Lar. Courtesy of Russo Lee Gallery. Hilma af Klint at the Guggenheim Museum in New York City Right now, and until April 23, the sloping walls of the Guggenheim Museum will stage one of the greatest and most anticipated shows of modern art in recent history. Hundreds of paintings and drawings...

John Latham (British, b. Zambia, 1921-2006) Art and Culture, 1966-69. Leather case containing book, letters, photostats, and labeled vials filled with powders and liquids: case 3 1/8 × 11 1/8 × 10 inches. The Museum of Modern Art, New York; Blanchette Hooker Rockefeller Fund Copyright 2011 John Latham (Digital image copyright The Museum of Modern Art/Licensed by SCALA/Art Resource, New York). MIT Press, 2012 Collating work by a dazzling array of contributors, from Vito Acconci and...

Art history via conversations Untitled (floor after Robert Smithson), 2013. Propped plywood, epoxy paint, decorative flakes, and mirrors, 4 x 8 ft. x 20 in. Untitled (sRGB 1996), 2012. Archival inkjet print/chromogenic print, 40 x 50 in. each. 1—An Introduction I was first introduced to Assaf Evron by a mutual friend at an art fair in Chicago. Shortly thereafter, he and I began a series of studio visits. Our relationship has become an ideal source...

An exhibition looks at historical conceptions of nature in the United States. John Gast, American Progress, 1872. Oil on canvas. Autry Museum of the American West, Los Angeles.  Co-curated by Karl Kusserow and Alan C. Braddock, Nature’s Nation: American Art and Environment at the Princeton University Art Museum surveys over three hundred years of American art from an environmental standpoint. The ambitious and important undertaking encompasses over 120 artworks, organized into three periods spanning the colonial era to...