Kerry James Marshall, "The Histories": Rewriting Grand History Painting
Reviewing 'Kerry James Marshall: The Histories' at the Royal Academy (September 2025–January 2026): monumental Black figuration and the deconstruction of Western history painting.
Fragmented Memory and the Historiography of Turkish Art
Exploring the roots of contemporary art in Turkey, Turkish art history, and figurative representation through a critical re-reading of Ottoman visual culture, shared workshops, and plural memory.
The Smithsonian Inquiry: Who Writes Historical Narrative in the Museum?
Investigating the White House's August 2025 ideological content review of the Smithsonian Institution: museum governance, political oversight, and contested history.
Amy Sherald Withdraws from the Smithsonian: A Portrait's Right to Remain on the Wall
Analyzing Amy Sherald's July 2025 withdrawal of 'American Sublime' from the National Portrait Gallery over 'Trans Forming Liberty': institutional censorship and the politics of portraiture.
Peter Doig Awarded the Praemium Imperiale: Painting Where the Figure Stands Like a Dream
Appraising Peter Doig on receiving the 2025 Praemium Imperiale in Painting: figure dissolved in landscape, optical memory, and figurative persistence.
IDAF'25 and PersonA: Five Days of Entangled Faces at AKM
Reflecting on the 5th Istanbul Digital Art Festival (IDAF'25) at AKM: Muzaffer Malkoç's interactive biometric installation PersonA, facial recognition subversion, and collective portraiture.
Sebastião Salgado (1944–2025): The Black-and-White Witness of the Human Figure
Appraising Brazilian photographer Sebastião Salgado (1944–2025): monumental black-and-white humanism, Serra Pelada, and the critique of aestheticizing tragedy.
Koyo Kouoh (1967–2025): A Biennale Left Without Its Curator
Appraising Cameroonian-Swiss curator Koyo Kouoh (1967–2025): her institutional legacy at RAW Material Company, Zeitz MOCAA, and the posthumous 2026 Venice Biennale.
"Sargent and Paris": Madame X and the Cost of a Portrait
Examining 'Sargent and Paris' at the Met (April–August 2025): John Singer Sargent's 'Madame X', the 1884 Salon scandal, and the societal peril of painted intimacy.
"David Hockney 25": The Currency of an Eighty-Seven-Year-Old Painter
Reviewing 'David Hockney 25' at Fondation Louis Vuitton (April–August 2025): iPad drawings in Normandy, empirical observation, and painting at age eighty-seven.