March / April 2017 Issue


The New Situationists

Implicit Politics: August Sander and the Fallacy of Objectivity

By definition, objectivity defies romanticism. Despite this, curators and art historians have referred to the German photographer August Sander as an "objective romantic." A selection of his portraits are...


Beverly Fishman: Color-Coding Big Pharma

From the pillbox, Beverly Fishman chooses colors with a calculating eye. A master colorist, Fishman explores the allure of intoxication: the fluorescent highs of addiction and sickly tones of withdrawal. With her vivid and...

Looking at Los Angeles

Kathleen Ryan: Weightless Again at Ghebaly Gallery

What appears to be two sets of eyelashes, heavily laden with mascara, rest on the floor of Kathleen Ryan’s current exhibition, "Weightless Again," at Ghebaly Gallery in Los Angeles. Cast in iron from two curling palm fronds, the pair...

The 1913 Armory Show: America’s First Art War

America has been an epicenter of avant-garde art for a long time, but this was not always the case. The reasons for the rise of the American art world are plural and complex. In part, this rise resulted from a mix of post-World War II affluence, which created collectors, and Cold War politics, which weaponized...

Letter from the Editor

What if balance was about process, rather than outcome?

Journalists often talk about balance, and it is usually in the context of a finished piece of writing: was it “fair and balanced”? Did it consider all sides of an issue? Did it appear to take a side?...