80 splashy, poetic, and unexpected covers. 15,000 pages of our time in thought. All in 1 independent-as-ever Spike. We’re celebrating 20 years this fall with a special double issue.
A Renaissance woman expounds on awkwardness as a live feeling, the freedoms of art’s nonsense economy, and her exhibition at Osservatorio Fondazione Prada, Milan.
In memory of René Pollesch (1962–2024), a 2005 conversation with Olaf Nicolai distills the late Volksbühne director’s onstage commitment to affirming his collaborators’ lives in all their messy specif...
If contemporary art had once come to believe it was the genre to subsume all others, it has since been outflanked by the art of just being – which is, ultimately, the art of being hot.
What’s wrong with fairs? With criticism? With all this money? What’s next for painting? NFTs? Doing it live? And is it politics or criticism that’s more totally broken?
Set in the literal shadow of Auschwitz, Jonathan Glazer’s new film suggests how history’s greatest crime will be recalled when its last survivors and witnesses have all passed on.
Hermès went leather, Balenciaga zen, Loewe anti-Pantone, and gremlins are in, and post-punk is lazy, and not all women are lesbians? A stylist logs her attacks of desire at Fashion Week 2024.
Is Berlin’s art scene really getting out of a rut, or did we all just drink one spritz too many? Five exhibitions stood out in a (re)divided city.
Does all the leather on LA corners mean rockstars are in again? A recovering sex columnist on straight men dressing gay and the groupie as style’s new muse.
Whether eating a financial daily shred by shred or crawling along all of Broadway, the late artist pried open the joists of capital and race in the American id via abjection, precarity, and play.
At a moment when so many cultural forms seem to be in recession, the safest index for clout is knowing which gastropub makes the most photogenic vegan steak.
In her latest theatrical work, the proudly histrionic Lily McMenamy scrambles all the idiosyncrasies that make up the performance of the self.
Been to one fair, been to ‘em all: the Ubers are expensive, the hangovers relentless, and is FRIEZE really at an airport? An LA VIP dishes on why the art world keeps showing face.
The holidays are upon us once again, and for this month’s column, Kaitlin’s forty closest friends have the perfect thing in mind. Links included and you should definitely open them all!
Some years ago, I went out with some friends to Trisha’s, a basement bar in Soho in London, and after a few drinks a stylist, quite austere, softly spoken, leant over to me and asked quietly, “Do all ...
New York is going through a renaissance; a golden age for contrarians, Catholics, and chimera-denialists. On his first trip outside the city in a year and a half, Dean Kissick reflects on all that’s h...
Espying 20th-century icons in all their public guises and moments of uncanny repose, Louise Lawler’s photographs convey that how we look is as formative as what we’re meant to see.
Now Zero has been a staple at Spike online, but now, fittingly alongside Brexit, we also bid farewell to Ella and her column. Fear not, Ella will continue to scrawl across the walls of Spike’s print p...
With the dawn of a new decade comes the possibility that all could begin good again. Why not? Dean Kissick treks from Mexico to New York in search of exhilaration, out of the glum and into glam and gl...
At home and in exile, the subject of a compact retrospective at CCA Berlin threaded feminized house craft, spray-can Pop, and an urge to find the all within one transnational mythos.
Scent, memory, and language all imperfectly conjure the moments we keep coming back to. An ode to Rimbaud, a new fragrance from Celine.
For the October edition of Spike x Liste Expedition Monthly Picks, Tel Avic art critic Arnon Ben-Dror traces the de-solidification of sculpture in Hannah Sophie Dunkelberg.
Dimes Square is art, but also more (or less) than art: It’s life turned theater, real-world “autofiction,” belle époque for Substack. That is, is it so distant from all our other forms of identity obs...
Victims or masterminds? This month, Adina Glickstein considers three girls’ grifts – and the startup-ification of subjectivity that might be the real crime after all.
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