Vasari Art Codex

rate_review review schedule Nov 17, 2025 link 21 artists, 2 galleries

kevin mcgarry reviews jason faragos even 300996

Kevin McGarry reviews the debut issue of *Even*, a new print art journal launched by *Guardian* contributor Jason Farago during Frieze New York. Named after a phrase from Marcel Duchamp's *The Bride Stripped Bare By Her Bachelors, Even*, the magazine is a small, paperback-sized publication that prioritizes text over images, positioning itself as an antidote to market-driven art discourse. The first issue features a lengthy essay on artist Joan Jonas by Elisabeth Lebovici, timed to Jonas's U.S. pavilion at the 56th Venice Biennale, and a piece by Zachary Woolfe on the Björk exhibition at MoMA. McGarry critiques the journal's ambition to revitalize art criticism, noting that while its goals are lofty, the content sometimes falls back on familiar artspeak.

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article culture schedule Nov 17, 2025 visibility 1 link 20 artists, 2 galleries

kevin mcgarry reviews jason faragos even 300996

Jason Farago, a Guardian contributor, launched a new print journal called *Even* during Frieze New York. Named after a phrase from Marcel Duchamp's *The Bride Stripped Bare By Her Bachelors, Even*, the magazine is designed as a compact, text-focused publication that aims to counter the market-driven and superficial aspects of the contemporary art world. The first issue features a lengthy essay on artist Joan Jonas by Elisabeth Lebovici, timed with Jonas's U.S. pavilion at the 56th Venice Biennale, and a piece by Zachary Woolfe on the Björk exhibition at MoMA.

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rate_review review schedule Nov 12, 2025 visibility 1 link 20 artists, 3 galleries

blank space book review cultrure over men 1234760399

W. David Marx's book "Blank Space: A Cultural History of the Twenty-First Century" argues that 21st-century culture has stagnated, blaming the Internet and its economies for a lack of innovation. The book cites critics like Jason Farago and Alex Ross who lament the death of monoculture and the failure of the Internet's promised diversity, while Marx himself longs for a past era of linear artistic progress defined by -isms like Realism and Cubism. However, the review criticizes Marx's framework as rooted in a 19th-century positivist fallacy, noting that art history has never been a clean linear progression and that overlooked artists—such as Hilma af Klint and Hector Hyppolite—have always complicated the canon.

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