TELEOLOGY AND THE TURNER PRIZE: UTILITY, THE NEW CONSERVATISM

FOUR YEARS AFTER THE LONDON RIOTS, THE TURNER PRIZE IS FOR THOSE WHO DARE TO HAVE A FRESH LOOK AT THE MAGNA CARTA

FRANK AUERBACH AND THE ‘ALL AT ONCENESS’ OF EXCELLENT PAINTING

THE NEW MADAME DE POMPADOUR OF FRENCH CULTURE?

LOCALS VANDALISE CONCEPTUAL ART DURING AND AFTER THE 12TH HABANA BIENNIAL

ARTISTIC CORRUPTION AND ARGENTINE POPULISM AS ART AT LA MAISON ROUGE IN PARIS

THE SAME OLD BORING SAMENESS AT THIS YEAR’S ARTBASEL

ART BASEL 2015 TOP 12 TURDS

CRISTINA KIRCHNER’S POPULISM PRESENTED AS ART AT THE MAISON ROUGE IN PARIS

THE ‘OH, I AM SO INTO CONTEMPORARY ART’ FASHION STYLE AT ART BASEL 2015

ADRIÁN VILLAR ROJAS: CAN A BAD PERSON BE A GOOD ARTIST?

WHEN WRITING FOR THE SOHO REVUE, I AM ‘THE HECKLER’

TABOOFART’S ARTICLE ON THEASTER GATES MENTIONED IN THE FINANCIAL TIMES

STEP INSIDE THE BOLSHOI 2015

GovWatch TO THE ZABLUDOWICZ AND THEIR DIVERSIONARY ART COLLECTING

GENERAL DISCOMFORT AT THE BUENOS AIRES ART FAIR’S DECISION TO AIR A TV COMMERCIAL THAT COPIES THE FIAC’S ONE FROM TWO YEARS AGO

SHOULD PUBLIC SCHEMES AIMED AT FUNDING LOCAL ARTISTS BE USED TO COMMISSION MULTI-MILLION DOLLAR SERIALISED JEFF KOONS SCULPTURES?

I LOVED ‘MAD MAX: FURY ROAD’

AFTER TRYING TO PAY COLLEAGUE SARAH WOOKEY LESS THAN MINIMUM WAGE, MARINA ABRAMOVIC TRIES SOME OF HER OWN MEDICINE

MY LATEST POST AT THE HUFFINGTON POST USA: ‘MIUCCIA PRADA SOAKED IN VENICE’

IS MOMA’S OBSESSION WITH CELEBRITY ALL ABOUT BIESENBACH’S NARCISSISM OR ABOUT GLENN LOWRY’S SELF PERPETUATION?

THEASTER GATES LANDS AT WHITE CUBE GALLERY: IS IT TOO CLASSIST OR RACIST TO SAY THAT HE IS FULL OF SHIT?

SONIA DELAUNAY AT TATE MODERN: IS ANNA WINTOUR A WITCH AND THE WORLD IS UNDER HER SPELL?

THE FILM AT THE ICA WAS ABOUT ISOLATION BUT IT WAS NOTHING COMPARED TO THE LONELINESS THAT I FELT WATCHING IT

GREAT LOVES THAT HAVE LASTED MORE THAN 50 YEARS

THE $179 MILLION PICASSO THAT EXPLAINS GLOBAL INEQUALITY

THE VENICE BIENNALE AND THE BEAUTIFUL IRONY OF MIUCCIA PRADA’S SINKING LIKE A LAMPEDUSSA REFUGEE

MR BIESENBACH, WHY GIVING A RETROSPECTIVE TO YOKO ONO INSTEAD OF FLUXUS (WHOM SHE COPIES) AT MOMA?

VIP INELEGANTLY SINKING UNDER MIUCCA PRADA’S ASTONISHED GAZE AT THE VENICE BIENNALE

THE ICELANDIC PAVILION AT THE VENICE BIENNALE IS A FUNCTIONING MOSQUE IN THE PLACE OF A CHURCH

THE FRAUDULENT STRATEGIES OF A VERY WELL KNOWN LONDON GALLERISTS AND HIS ARTISTS TO SELL ‘NOTHING’

WHY HAS AN UNSCHOOLED SOCIOPATH BEEN APPOINTED AS CHIEF CURATOR OF THIS YEAR’S VENICE BIENNALE?

A SHORT HISTORY OF THE VENICE BIENNALE BY OSCAR BOYSON

IF THE NEW WHITNEY MUSEUM IS SO WELCOMING, WHY TIMING THE TICKETS?

IS LARRY GAGOSIAN DEAD AND NO ONE TOLD HIM?

MY LATEST TWO FEATURED BLOG POSTS ARE READY FOR YOU TO READ AT THE HUFF POST ARTS & CULTURE

A BROOKLYN BASED SCULPTOR SHOWS THAT POST-MODERNISM CAN BE GOOD WHEN IT IS DONE WITH HUMILITY

THE ALEXANDER McQUEEN SHOW IS UNDERWHELMING FOR A NATIONAL INSTITUTION

SCULPTURE VICTORIOUS AT TATE BRITAIN: IS VICTORIAN ELEGANCE AN OXYMORON?

ARE WE READY FOR BRUCE LABRUCE’S OUTSIDER QUEERISM AT MoMA?

THIS VENICE BIENNALE IS DEDICATED TO AN ARTIST WHO EVOKES THE EROTICISM THAT LIES UNDERNEATH SELF DESTRUCTION

THE NEW YORK TIMES’ KEN JOHNSON SPECTACULARLY MISSES THE POINT OF CHARLES COYPEL’S ‘DON QUIXOTE’ TAPESTRIES AT THE FRICK COLLECTION

RICHARD DIEBENKORN: THE CALIFORNIAN ABSTRACT EXPRESSIONIST THAT IS TEACHING THE ENGLISH HOW TO PAINT

RICHARD DIEBENKORN’S LONDON MASTERCLASS ON HOW TO RESTRAIN FROM VISUAL TRENDS TO ACHIEVE ARTISTIC EXCELLENCE

ROBERT STORR (DEAN OF THE YALE SCHOOL OF THE ARTS): ‘JERRY SALTZ IS APALLING. HE IS THE CLASS CLOWN AND ROBERTA , IT’S ALL ABOUT ROBERTA’

EDEL ASSANTI AND THE NEW GENERATION OF ART DEALERS WHO JUST WANT TO PEOPLE-PLEASE

ARE BASQUIAT’S BROOKLYN NOTEBOOKS AND KAHLO’S PAINFUL DETROIT EXPERIENCE OF ANY ARTISTIC VALUE AT ALL?

‘TATE BRITAIN WAS LUCKY TO HAVE SOMEONE LIKE PENELOPE CURTIS AS DIRECTOR’

SUNDAY TIMES’ ART CRITIC SUCCEEDS IN MAKING TATE BRITAIN’S DIRECTOR LEAVE

KLAUS BIESENBACH SHOULD BE FIRED AFTER BJÖRK’S DISASTER