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DEAN KISSICK’s latest column is an ode to the coming fall, where New York is struggles to bring normalcy back into play. But when was New York ever normal?
DEAN KISSICK takes us through the troubled beginnings of the 2020s, charting his own history in New York, and the timeline of events of the previous decade that brought us here. Writing is the best cure for amnesia.
DEAN KISSICK was in New York when America rose up, and managed to both document and celebrate the protests that followed in the wake of George Floyd’s murder by the police.
DEAN KISSICK is in search of lost rays of the sun, in paintings. There is a certain kind of light, and it still seems to show on Proust, Vermeer, and kitties?
The countryside is synonymous with the desires for escape, health, self-sustainability, and many other things that might well describe the current mood under the threat of corona. DEAN KISSICK weighs in on one exhibition that presents the nether reaches as just that: somewhere far away.
With the dawn of a new decade comes the possibility that all could start over, be good again. DEAN KISSICK takes us on a journey in search of exhiliration in art, theatre, and elsewhere. Follow his trek from Mexico to New York, out of the glum and into glam and glee.
Salvage Art Institute, SAI 0015: materials: aluminium, porcelain; size 10 x 10 cm; damage: 12/24/2008, shattered in fall; claim 05/11/2009; total loss: 05/20/2009; production: 1995; artist: Jeff Koons; title: Red Ballon Dog Ed. 51/66
DEAN KISSICK reads Natasha Stagg’s new essay collection Sleeveless and Fiona Duncan’s debut novel Exquisite Mariposa and begins to understand the 2010s.
Gucci’s new Cruise campaign, directed by Harmony Korine and Alessandro Michele, stars rapper Gucci Mane. Gucci Mane’s new album cover, shot by Harmony Korine and Alessandro Michele, stars Gucci. Pop continues to eat itself. Nothing means anything here, in the twilight of the 2010s.
This month, Dean discusses the embryonic monkey-human chimeras created by geneticists in California. It’s time to think again of what else we could be.
This month Dean Kissick goes to the Norwegian countryside, contemplates Ludwig Wittgenstein’s retreat from society and sees art’s return to its pagan origins in artist Marianne Heske’s latest project
Cruising Pavilion make shows exploring the architectural aspects of cruising culture. They’re interested in widening the definition of “cruising” to mean more than just gay men looking for sex with strangers in public spaces. By Dean Kissick
