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Recent Posts

ALEXANDRA KEHAYOGLOU: THE MYTH OF THE FLYING CARPET MAY NOT BE A MYTH AFTER ALL January 18, 2019
AN ‘INTELLECTUAL’ EXHIBITION AT THE FONDAZIONE PRADA IN VENICE THAT TURNS NEED INTO VIRTUE, TRANSFORMING UNEASINESS INTO INTENDED ANXIETY November 28, 2018
THIS YEAR’S SÃO PAULO BIENNIAL’S DECISION TO STAY AWAY FROM POLITICS WHILE BRAZIL WAS ELECTING AN ALT-RIGHT PRESIDENT RAISES THE QUESTION OF THE CULTURAL INTEGRITY OF THOSE BEHIND IT November 6, 2018
DOMINIC DISPIRITO’S ANGER AND DISPROPORTIONATE SENSE OF ENTITLEMENT ARE EVIDENT IN HIS RESPONSE TO THIS BLOG’S REVIEW OF HIS PARTICIPATION IN THE ACME SHOW AT PEER GALLERY October 9, 2018
DOMINIC DISPIRITO’S ATTITUDE PROBLEMS, ALEX URIE’S BANAL TRENDINESS AND JAMES TAILOR’S MONUMENTAL GAY ‘MODERNISM’ ON SHOW AT PEER GALLERY IN HOXTON October 2, 2018
IN THE NAME OF AWARENESS, ARGENTINE MIKA ROTTENBERG’S VIDEO INSTALLATIONS GREEDILY TAKE THAT COUNTRY’S TRADITION OF SADISTIC POLITICAL ART TO A NEW LEVEL OF… UNAWARENESS September 27, 2018
WHAT HAS ALWAYS BOTHERED ME ABOUT THE BP PORTRAIT AWARD IS THAT BOTH ARTISTS AND VIEWERS RUN TO PRAISE EACH OTHER FOR HOW INCLUSIVE AND TOLERANT THEY ARE, LEAVING PERVERSION, HESITANCE AND DARKNESS ASIDE September 21, 2018
MATTHEW COLLINGS DIMISSES PICABIA AS ‘BORING’, DAN COOMBS DOES THE SAME WITH ME AS ‘POSTRUCTURALIST’ AND I LEFT THE FIRST WORLD WAR TATE BRITAIN SHOW FEELING THAT UK INSTITUTIONS MIRROR THEIR ARTISTS POST VICTORIAN PATRIARCHAL BELIEFS September 14, 2018
THE #METOO CURATORIAL DILEMMA: FEMINIST ART OR ART MADE BY WOMEN? September 6, 2018
VICTORIA CANTONS, ONE OF THE ARTISTS INCLUDED IN MY ‘SCATHING’ REVIEW OF THE TURPS STUDIO PROGRAMME EXHIBITION SAID TO ME: ‘YOU ARE PUTTING EVERYONE DOWN AND DISGUISE THAT AS CRITICISM’ August 28, 2018
AT TURPS STUDIO, THEY FAILED AT TEACHING THEIR STUDENTS HOW TO PAINT BUT INSTEAD THEY GAVE THEM CLEAR DIRECTIVES ON HOW TO PRICE AND QUICKLY PUT THEIR WORK IN THE MARKET August 26, 2018
PATRICK LEIGH FERMOR, JOHN CRAXTON AND NIKO GHIKA’S AUTISTIC HOMOSOCIAL EFFORT TO RESTORE GREECE TO ITS FORMAL GLORY IN A BIZARRE ETHNOGRAPHIC EXHIBITION AT THE MUSEUM THAT KEEPS THE ELGIN MARBLES August 19, 2018
IN A COUNTRY THAT HAS USED HOLLYWOOD AS A DIVERSION FROM ITS OWN CHAOS, US ‘PRECISIONIST’ PAINTERS GET NEUROTICALLY REAL AT AMERICA’S COOL MODERNISM: O’KEEFFE TO HOPPER (ASHMOLEAN) August 7, 2018
SIMON ENGLISH’S BOSCHIAN PORTRAYAL OF A MASCULINE GHETTO OF SEXTARDS FOR WHOM CHEMSEX AND DISCONNECTION ARE A WAY OF LIFE July 30, 2018
‘ALL TOO HUMAN’ AT TATE BRITAIN: PAINTINGS THAT MAKE THE ONLOOKER FEEL EMBEDDED WITHIN IT July 21, 2018
OXFORD’S ASHMOLEAN PRESENTS SUDANESE ARTIST, IBRAHIM EL SALAHI AS POST COLONIAL MODERNISM BUT WHAT THEY REALLY MEAN IS FINANCIAL GLOBALISATION July 14, 2018
AREN’T BEYONCÉ AND JAY Z FUNCTIONAL TO THE PERPETUATION OF THE ‘CIVILISED BARBARISM’ THAT MUSÉE DU LOUVRE EMBODIES? July 10, 2018
LEE BULL AT HAYWARD: A GOOD ARTIST BLOWN OUT OF PROPORTION BY A GREEDY ARTISTIC BUREAUCRACY? July 6, 2018
HOW NOT TO FALL INTO THE TRAP OF BEING PICASSO? June 29, 2018
THE OUTSTANDING RETROSPECTIVE OF JOAN JONAS AT TATE MODERN TEACHES US THAT GRIEF IS NOT LINEAR BUT HAUNTS US FROM WITHIN, WHENEVER IT PLEASES June 16, 2018
TATE MODERN’S ‘SHAPE OF LIGHT’ IGNORES THE LIQUID VIRTUES OF THE PHOTOGRAPHIC MEDIUM ONLY TO OBSESSIVELY SUBMIT THE VIEWER TO A POINTLESS VISUAL EXPLORATION OF WHETHER PHOTOS CAN EMULATE MODERNIST PAINTINGS OR NOT June 7, 2018
MODERN ART OXFORD STAGES A SHOW ON DECOLONISATION BUT ITS SPONSORSHIP TACTICS REVEAL ITS EAGERNESS TO REINFORCE EUROPEAN COLONISATION TRADING INTELLECTUAL AUTHORITY FOR MONEY June 2, 2018
THE COURTAULD GALLERY USED AS A COMMERCIAL PLATFORM FOR PROMOTING KATRIN BELLINGER’S COLLECTION OF DRAWINGS AS AN ART DEALER May 11, 2018
PATRICIA PHELPS DE CISNEROS’ COLLECTION AIMS AT CREATING A PERSONAL LATIN AMERICAN UTOPIA OF A ‘REGION DESARROLLADA’ WITHOUT LATIN AMERICANS March 23, 2018
ROSANA PAULINO IS AN AFRO-BRAZILIAN ARTIST WHO IS NOT CONVICED ABOUT ANTHROPOFAGIA ANY LONGER BUT WHOSE IMAGERY IS STILL AIMED AT GAINING THE APPROVAL OF A WHITE EDUCATED AUDIENCE March 16, 2018
FUNDED BY THE SAME LANDOWNING MONEY THAT DELAYED THE END OF SLAVERY, TARSILIA DE AMARAL CREATED IMAGES OF HIBRIDATION WHICH ULTIMATELY SERVED THE ELITE TO AVOID FACING THEIR COUNTRY’S BARBARIC RECENT PAST. 100 YEARS LATER, MoMA HAS DECIDED TO IGNORE THIS March 14, 2018
THE FIRST AFRO-BRAZILIAN ARTIST TO GET AN INVITATION TO THE VENICE BIENNALE REJECTED UNTIL HE HAD VISITED ALL AFRICAN COUNTRIES March 14, 2018