Trevor Fairbrother
Phaidon’s meticulous facsimile revives the playful chaos of Warhol’s 1967 experiment in publishing, though new additions intrude on the original’s aesthetic.
Rhino’s reissues of “Best I” and “Best II” reveal the breadth of the band’s music and the striking parallels between Steven Morrissey and Andy Warhol.
A sprawling 250th‑anniversary display sidles up to hot‑dog branding and influencer playfulness.
A trove of contact sheets reveals Peter Hujar’s working method, restless eye, and the breadth of an underseen archive.
A focused museum show revisits the radiant ambition—and shifting fortunes—of a Color Field innovator.
For biographer Andrew Durbin, Peter Hujar and Paul Thek are historical figures from a lost era that he wants to discover on his own terms.
While I heartily recommend “Sixties Surreal” as a provocative revisionist compendium or almanac, I know the volume will frustrate those who expect to find a conventional survey.
Nicholas Tochka is less interested in crafting a coherent portrayal of Charles Manson’s “musical lives” than in connecting his critical hypothesis of “the invention of the Sixties” to critical theories.
Viewing John Singer Sargent and his art through the lens of identity studies and LGBTQ history supplies new insights into claims about his homosexuality.
Visual Arts Commentary: The Great Spirit Gets Company
In Boston and Hanover, new works by Alan Michelson and Kent Monkman challenge the myth of the vanishing Native—and the Cyrus Dallin bronze that enshrined it.
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