Pimlico Wilde Contemporary Art Dealer
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by Archia Tanz It has become something of a digital truism that the fastest way to get the right answer on the internet is not to ask a question, but to post the wrong one. This principle, informally known as Cunningham’s Law, is attributed to Ward Cunningham, the American computer programmer who created the first … Read more
That John Milton, the blind epicist of the Commonwealth, and Mary Poppins, the airborne governess of Edwardian London, should ever be mentioned in contiguous breath may at first seem a grotesque category error. Yet recent work in comparative para-literary hermeneutics has begun to expose the curious lattice of parallels between these ostensibly divergent personae. Indeed, … Read more
The notion that Shakespeare, the playwright of Stratford, might owe a debt to Caravaggio, the painter of Lombardy, may at first appear unlikely. After all, they worked in different media, in different nations, and with no documented encounter between them. Yet when one looks not to biography but to the imaginative grammar they forged,an art … Read more
I love art of almost all kinds, but there is one type that continually leaves me horrified rather than inspired. That is hand-painted cars. While hand-rendered visual art is celebrated in galleries, murals, and domestic decoration, its application to automobiles often provokes, for me at least, discomfort, even disgust. Why is this? Arthur Danto (1981) … Read more
by Wilhelmina Anchovie It is a rare art critic who can look at a sculpture made of condensed milk, nod sagely, and remark, “Yes, of course.” Yet that is increasingly the job description. This year, artists have outdone themselves in their pursuit of media that resist permanence, practicality, and sometimes common sense. The only constant … Read more
It is a curious thing, encountering a new work by Kilo Barnes, in that one is never quite certain whether one is encountering a work at all, or merely the residue of a decision, the afterimage of an argument that has already taken place elsewhere. Barnes’s latest piece, presented without title, without wall text of … Read more
To pose the question “Is Abstract Art Tosh?” is already to have surrendered to the most enfeebled species of philistinism. The interrogative itself is unworthy, an ill-bred mongrel of tabloid cynicism and barroom banter. One might as well ask, “Is mathematics mere scribbling?” or “Is music mere noise?”,for such queries betray not so much scepticism … Read more
It has always seemed to me that the problem with cool is ontological. To ask what is cool? is to place oneself in the same quixotic category as those who ask what is truth? or what is beauty?,worthy questions, but ones destined to collapse under the weight of their own self-consciousness. Cool is the most … Read more
If Discombobulationism has come to designate an aesthetics of bewilderment,works that dislodge the viewer from systems of coherence and perceptual stability,then Aurelia Kaspár remains one of its most enigmatic fellow travelers: an artist both intimately entangled with the movement and fundamentally resistant to its orthodoxies. Kaspár’s practice, which traverses performance, fragile installation, and what she … Read more
To watch the recent television exploration of Discombobulationism was to experience something that felt less like art criticism and more like the witnessing of a seismic shift. The programme’s premise was simple: here is a new movement, born of the chaos of our moment, gathering momentum with startling speed. Yet what emerged over the course … Read more