Thinking about why it is that Heymish’s photographs create a kind of proprietary urge, a question arises – how can they be nostalgic for so many people, when memories are supposed to be our own? Somewhere between dream and memory, the images create acute but inarticulate feelings, that seem to belong intimately, and impossibly to […]

Looking at Louisa Chambers’ work put me in mind of Bruno Munari and his useless machines, not to be confused with his comic machines seen in Einaudi’s Le Macchine di Munari, “projects for strange constructions for wagging the tails of lazy dogs, for predicting the dawn, for making sobs sound musical, and many other facetious […]

Read Brian Dillon’s fantastic review of the Tacita Dean exhibition on at The Common Guild in Glasgow.  An example of why good criticism matters. Discussing contemporary artists (like Sam Taylor-Wood) updating the traditional nature morte, Dillon shows how a good critic’s ability to make fine distinctions between only nominally similar endeavours, allows us to see […]

Karen Rosenberg of the NY Times made some good observations about artist Damian Ortega back in October: How Things Work (or Sometimes Don’t) – “The humor in Mr. Ortega’s art can also be traced to his first career, as a political cartoonist for Mexican magazines and newspapers. It’s both a strength and a weakness: he […]