#77 FIELD GUIDE TO AI

Error message

Notice: Trying to access array offset on value of type null in spike_ds_field_flipbook() (line 437 of /var/www/html/sites/all/modules/custom/spike_issue/spike_issue.module).

#77 FIELD GUIDE TO AI

All issues

Vunkwan Tam: The Last Laugh

In his debut show at Empty Gallery in Hong Kong, Vunkwan Tam turns doe urine into a metaphor for dramatized emotional wallowing.

How the Story Is Told After It’s Over

The artist’s life used to be sorted into three parts: emergent, mid-career, and established. The reality, of course, is murkier: Andy Warhol emerged from an erased past, motherhood “skipped” Louise Bourgeois’s mid-career, and Philip Guston renounced his established art – to say nothing of posthumous revisionism. How, then, can we take the measure of what an oeuvre adds up to?

A Little Off of True: Cindy Sherman

In a thousand guises on as many sets, the personae in Cindy Sherman’s pictures document an unfolding of the self, leaving a half-century’s oddities and fantasies exposed. Visiting the debut of her latest works, she and Kunsthalle Zürich’s Daniel Baumann unpack her interest in the grotesque, ways of abstracting ageing, and a conviction that what’s scary can also be very funny.

How to Make the Woman Artist Exceptional

We just love a “badass” woman-artist. The system can handle rebellion – so long as it’s one heroine at a time. Underdog stories sell, as biopics and prestige TV and gift-shop chintz, while making for easy understandings of “difficult” work. But how to break out of the mythology trap? New narrative forms must commit to putting the art first, no matter how radical the biography underneath.

Are you familiar with Greg Rutkowski?

How to Demask the Seven Fallacies of AI Art

Being a Human Can Be Really Unruly: Martine Syms

AI Glossary

Wise to the Game

Turning a corporate office into a crime scene, the new sculptures and Polaroid throwbacks of Cady Noland’s installation at Gagosian, New York zero in her inquest into star-spangled paranoia.

Life in the Sea Is Like a Verb

Fragrant with sea musk, Anicka Yi’s debut exhibition with Esther Schipper, Berlin grafts generative AI and Cambrian zooplankton into one fruit-ripe family tree, one globulous tendril at a time.

Desire without Ornament

At Wonnerth Dejaco, Vienna, a presentation of erectile drawings and out-of-scale collages revitalizes Anita Steckel’s questioning of embodied gender and benchmarks the transformation of sexual politics between her heyday and the present.

Paint the World Red

In his latest painting exhibition at David Zwirner, Paris, Josh Smith’s expressive ambivalence gives way to a lyrical defiguration of sameness, as the self holds on tight through the world’s psychoses.

From Every Depth of Good and Ill

With slap-in-the-face monuments, dances with buildings, and a water-gunning boy’s choir, steirischer herbst ’23 unearths Graz’s anti-fascist micro-histories while troubling the distinctions of oppressor and oppressed.

I Need Somebody

Can painting ever be made selflessly? At Galerie Lars Friederich, Berlin, WAGE co-founder Lise Soskolne locates the turning of private artistry toward public good in a politics of legibility.

Every Day’s Joys

In New York, lavish acrylics, plush sculptures, and soft-skinned poems by Jonathan Lyndon Chase re-style Artists Space as a neighborhood barbershop and the barber as a consummate artist.

Error message