Mark Prince

Describing the work of the American poet Frederick Seidel, the poet and critic Michael Hofmann has argued that “it’s important to understand that the poet is not in the lines”; this despite the fact t…

The English artist Michael Dean has a complicated relationship with language, one that reflects the ambivalent relationship between postmodern British sculpture—with its down-to-earth blend of minimal…

The figures that populate the recent paintings of the U.S.-based German artist Thomas Eggerer are engaged in activities that painting freezes and renders ambiguous or illegible. “Painting” and “figure…

The assumption that painting, with its direct link to the artist’s hand, offers unparalleled access to subjectivity has always been taken by Laura Owens as a cue for irony. She adopts pictorial idioms…

From Hitchcock in Rear Window to Wenders in Paris, Texas, filmmakers seeking to make their medium reflect on the way film both attracts and deceives its audience have often begun by suggesting…

Inappropriately enough, in the 1980s, John Armleder was briefly associated with the Neo-Geo movement. The geometric idiom in painting is chiefly a means of closing down the arbitrariness of subjective…

“A Work of Fiction (Revisited),” 2013-14, actualizes the example sentences that dictionary editors provide to demonstrate word usage. 

Since the 1960s and '70s, sculpture's "expanded field"  has produced transient forms—temporary installations, performances, Earth works—that often continue to exist only in photographic documentation…

Elizabeth McAlpine's series of 10 photographic works is elusive, even deceptive, but not in the way we typically think of photography as being.

Thomas Zipp's art evinces a romanticism that its postmodernist methods designate as obsolete. It is a paradox his irony strives to justify.