"An Alternative History of the Future," Frieze
‘As If: Alternative Histories from Then to Now’ collects an archive of what could have been: frightening speculation of a victorious US Confederacy and the triumph of the Nazis over the Allies, as well as utopian visions of an uncolonized Africa and worlds free of patriarchal oppression.
"Ruptured Histories: Chinn Wang at The Print Center," Art in Print (featured on cover)
Wang, an artist and professor at the University of Denver, works at the intersection of print and digital media, distorting and altering images to examine the malleability and truthfulness of personal, political and historical narratives.
Review of Sarah Charlesworth at Paula Cooper Gallery, ArtReview (April 2019) (print only)
The exhibition focuses on the series In-Photography (1981-82) – named in reference to Susan Sontag’s On Photography (1977) – and Red Collages (1983-84), smaller works named for their bright-coloured backgrounds.
Critic's Pick: Elliott Jerome Brown Jr., Artforum.com
Informal, intimate scenes of black life—often tender—dominate Brown’s first solo exhibition, “a simple song,” the title of which is based on I Wrote a Simple Song, soul artist Billy Preston’s 1972 record that talks about the disappointment of making deeply private music for public consumption.
"Anna Atkins & Photography’s Blue Beginnings," New York Review of Books Daily
In 1843, Anna Atkins began work on her book of photograms documenting specimens of British algae, what is now considered the first book to be fully illustrated with photography and the first use of photography for scientific documentation.
"The Documents Left Behind from Live Performances," Hyperallergic
Enacting the Text: Performing with Words, currently on view at the Center for Book Arts, uses performance art’s detritus as its starting point.
“A Publisher of Artist’s Books That Isn’t Bound by Convention,” Hyperallergic
“Mastery and Missteps in Matisse’s Books,” Hyperallergic
The Morgan Library & Museum’s current exhibition Graphic Passion: Matisse and the Book Arts, of Henri Matisse’s illustrated books donated to the museum by collectors Michael and Frances Baylson, demonstrates the artist’s well-deserved reputation of having produced some of the most prominent livres d’artistes while also exploring his missteps and failures in book production, emphasizing his devotion to process and revision.