◐Visual Arts

A single narrative of Western art built on the premise that there is no such thing as Art, only artists solving problems.

Reproduction changes what a painting means, and the conventions of oil painting encode ownership and the male gaze.

People cannot draw because they render what they know rather than what they see; the exercises work by disrupting the symbol.

Photographs are acquisitive: they turn experience into images and quietly change what we consider worth looking at.

A century of modern art explained through what it was reacting against, by a critic willing to say which of it failed.

Treats African sculpture as the product of specific traditions and workshops rather than as an undifferentiated influence on European modernism.

The standard technical reference across every print process, where the constraint of the matrix is the source of the style.

Reads the period on its own terms rather than as a decline from Rome or a prelude to the Gothic, which is how it was taught for a century.

Identifies the formal properties digital media actually have — numerical representation, modularity, variability — rather than the ones claimed for them.

Argues sculpture is an art of tactile mass rather than of visual image, and has been misread for centuries as three-dimensional painting.