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Mark Prince

Dirk Bell

In BQ's front window, the title of Dirk Bell's exhibition, "Schön und Gut" (Beautiful and Good), was spelled out in the panels of a shelf structure.

Ian Kiaer

There is a painterly esthetic of the abject—it might be called pathetic formalism—which emerged at the end of the 1990s.

Frank Auerbach

Most young painters seem able only to reflect on their inability to do what Frank Auerbach does: construct equivalents of observed reality which do not seem naive, oblivious, obsolescent or reaction…

David Salle

Back in the 1980s, the paintings of David Salle were the essence of hip postmodernism, flagrantly offending any lingering proponents of a modernist era who would have insisted that the creation of an…

Martin Boyce

On a hot day in Berlin, the lights were dimmed inside Johnen Galerie, as though Martin Boyce’s art were too delicate to withstand the heat. Boyce’s reliance on webs of abstruse references places him…

Kader Attia

The documentary mode of film, with its assumption of investigative objectivity, has become a useful template for artists to convert to their own purposes. At worst, this can mean no more than stripp

Gunther Forg

Günther Förg’s relation to his antecedents is elliptical, less a blithe reference, in the typical manner of contemporary postmodernism, than the testing of a distance, as in the pressure applied by a…

Sergej Jensen

Paintings may be pictures, but they are always objects. The blatant materiality of Sergej Jensen’s canvases made them seem part of the interior architecture of Neu’s gallery. Jensen has consistently…

Dan Peterman

In Wallace Stevens's poem "The Snow Man" (1926), nature's indifference to humanity is perceived as if through the lens of nature itself rather than human eyes. The snowman is not human but made in h