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In our culture we find “space” everywhere. It is prevalent as a type of background noise in our speech and writing. Space is taught in geometry, physics, architecture, and even in psychology, with terms like “personal space” and “psychological space.” The (often subliminal) purpose of adding space to terms that stand-alone is to make those terms more passive, and to give the term’s user distance from the subject.

Art In Conversation

LISA OPPENHEIM with Charles Schultz

Lisa Oppenheim’s first one-person exhibition in an American museum took place this year at the Museum of Contemporary Art in Cleveland, Ohio. Her second one-person exhibition at the Tanya Bonakdar gallery, A Durable Web, is on view through October 21, 2017.

OKWUI ENWEZOR with David Carrier & Joachim Pissarro

When Joachim Pissarro and I began to organize our interviews with major museum directors—men or women who had decisively changed their institutions—from the very start we planned to talk with directors both in this country and internationally. Thus we interviewed not only Jeffrey Deitch, who had directed MOCA in LA; Philippe de Montebello of the Metropolitan; Alanna Heiss, and then Glenn Lowry, from MoMA; Massimiliano Gioni of the New Museum; and Thelma Golden of the Studio Museum in Harlem; but also Sir Norman Rosenthal from the Royal Academy, London; and Mikhail Piotrovsky at the Hermitage in St. Petersburg. In this, the eighth of our interviews, we talk with Nigerian-born Okwui Enwezor who, after a distinguished early career as curator in the United States, organized exhibitions in Europe, where now he is director of the Haus der Kunst, Munich.

Art In Conversation


A work I always think about in these terms of a puncture is this piece I made in 2007, a huge, tangle on this spindly stand: in the studio, almost jokingly, it came to be called “Mr. Messy,” which is from a children’s book.

Art Close Encounters

CHRIS KRAUS with Jarrett Earnest

Chris Kraus is the author of four novels: I Love Dick (1997), Aliens & Anorexia (2000), Torpor (2006) and Summer of Hate (2012), and two collections of essays, Video Green (2004) and Where Art Belongs (2011).

Art In Conversation


To me, to be able to make a physical fact that correlates with your impulse, with your real desire is something that can be unendingly interesting, or unendingly telling of itself. To the degree where you can’t seem to quite get enough of seeing it because it keeps retelling its own story. And maybe you look for that in the authenticity of a mark. Because once you start to give a reason as to why you’re doing something, it’s already a lie. Reason is the opposite of truth. Once you explain it you’re deconstructing it and making it into something else that might be a surrogate for that thing or trying to make it into a surrogate. But it just absolutely cannot be that thing.

From the Publisher & Artistic Director

Dear Friends and Readers,

Many of us, who are interested in progressive education and liberalism, are aware of ideas that can be materialized and put into practice for the welfare of people in every aspect of their lives: jobs, housing, schools, healthcare, and whatever else concerns their civil rights. We therefore wonder what has happened with what was once the most identifiable brand of American philosophy, namely pragmatism—a philosophy that is invested in matters of fact, and tangible results?

Editor's Message Guest Critic

On Slow Art: Introduction

I did something crazy—although it only came to look crazy in retrospect. Without initially intending to, I spent roughly eight years dwelling with the same painting—whether in person or in my imagination. A simple looking painting at that, Edouard Manet’s Young Lady in 1866.

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Publisher's Message

Editor's Message



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Art Books

Field Notes


The Brooklyn Rail

SEPT 2017

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