Archive for the “Art in America” category
Reading Capital in Venice
by Travis Jeppesen on September 1, 2015
A work of ficto-criticism, in the September issue of Art in America.
Tania Bruguera
by Travis Jeppesen on August 29, 2015
My interview with Tania Bruguera, from the September issue of Art in America.
Lee Kit
by Travis Jeppesen on December 3, 2014
“Conditionally You,” an essay on Lee Kit, in the December issue of Art in America. Can also be read online here.
Norko Realism
by Travis Jeppesen on May 30, 2014
“Rather than continuing to align the DPRK’s art with an outdated Soviet style that was internationalist in intention, one would do better to see the foreign influence as melded with North Korea’s own artistic forms and aesthetic; let’s call the (…)
Art in the Dark
by Travis Jeppesen on November 28, 2013
Living in Berlin, you become obsessed with light. Throughout most of the year, there is so little of it to go around that one grows heavy with lethargy and despair—it’s all you can do to get out of bed before (…)
The Basel Syndrome
by Travis Jeppesen on November 28, 2013
Volatility. If there’s one word to sum up the times we’re living in, that would have to be it. In conversation, people will often aver that the financial crises of the last few years have had little effect on (…)
Maria Lassnig
by Travis Jeppesen on July 16, 2013
On Maria Lassnig, at Art in America.
Iraq in Venice
by Travis Jeppesen on July 8, 2013
An interview with Jonathan Watkins, curator of this year’s Iraq Pavilion at the Venice Biennale, at Art in America.
Reading the Palace
by Travis Jeppesen on June 14, 2013
What the “Encyclopedic Palace” ultimately offers are multiple examples of the extra-exclusionary, which may be nothing more than that fleeting moment in the act of creation when other people don’t exist—just me and my god(s). My review of “The Encyclopedic (…)
Cohesive Holes
by Travis Jeppesen on April 9, 2013
“As an embodiment of the myriad contradictions that China finds itself mired in today, MadeIn effectively explodes the double-mindedness that Chinese artists have had to internalize in the post-Tiananmen era. The million little shards that result, when put together, probably (…)
