Following a number of recent books by and on John Berger, coinciding with the renowned critic’s passing away in 2017, Norman Saadi Nikro dives into some of Berger’s writings and drawings. He explores the transformational impulses driving Berger’s relational, molecular, and constellation-like approach, and its relevance to today’s world in crisis.
Under the extreme political controversy surrounding the Barbur Gallery in Jerusalem, and in the shadow of the political decision to evict the gallery from its current space, Lonnie Monka talks with Abraham Kritzman, an artist and the gallery’s curator, about being an artist-led institution, curating and writing about art, and the concern that the political struggle will overshadow the attempt to make art.
From researching and re-imagining a 1943 exhibition of modern Lebanese art in Jerusalem to writing for a leading independent arts magazine, to being part of an artist-run gallery in Brooklyn, Hakim Bishara has been experimenting with various practices in the past few years. David Duvshani recently met the Palestinian writer, curator, and artist in New York for a conversation about these multiple ventures and about the New York cultural scene in the Trump era.
“What it Means to Write About Art features conversations with writers who average three decades of experience turning phrases that go to press with a bold, uninhibited passion for art.” Matt Hanson reviews Jarrett Earnest’s recent book, a collection of interviews with prominent art writers such as Jerry Saltz, Roberta Smith, Lucy Lippard, Rosalind Krauss, and Yve Alain Bois.
"I must build a 20-meter-long bridge, made of words, to the mystery works by Amos Groswagel, assuming they are where they should be." Shai-lee Horodi writes from a distance about Amos Groswagel's show at Livluv 24 Gallery in Tel Aviv.
Gilda Williams, author of How to Write about Contemporary Art, talks to Bar Yerushalmi about the problems, dilemmas, and possibilities of writing about art today.