Barry Schwabsky | The Nation

How did craft become a calling that dare not speak its name?

Rafael Ferrer and Christian Marclay prize an aesthetic of spontaneous responsiveness irrespective of subject.

Art School (Propositions for the 21st Century); Ch-ch-ch-changes: Artists Talk about Teaching; Curating and the Educational Turn

In the film projects of Tacita Dean, everything is just about to disappear.

"Matisse: Radical Invention, 1913-1917" makes some of Modernism's most familiar paintings seem unresolved and difficult again.

Christen Købke painted the presence of things—buildings, faces, skies—as the presence of enigma.

This year's Whitney Biennial fails to address the question of which art pertains to our time rather than any other.

A historical parallel that might add to Cole's well-put points, particularly regarding lawyers defending Guantánamo detainees: John Adams agreed to serve as defense attorney for the British soldiers who fired on Americans in the Boston Massacre. He believed it strengthened the American cause to give the British soldiers a fair trial.

The visual art of the Black Atlantic explores an ambivalence that exceeds double consciousness.

Charles Juliet's Conversations with Samuel Beckett and Bram van Velde; Matthew Spender's Arshile Gorky: Goats on the Roof: A Life in Letters and Documents; Zak Smith's We Did Porn: Memoir and Drawings.