4Columns

“Just looking at the drawings left me genuinely awestruck, thinking that human ingenuity, and virtuosity of craft, might be as close as we ever get to godliness.”—@prettymetals reviews “Gothic By Design: The Dawn of Architectural Draftsmanship” @metmuseum 4columns.org/krasinski-jenn…

“Waldrop’s lovely, unclassifiable chronicle is a curious and compassionate portrait of a family in middle America at mid-century and the marginalized landscape they inhabit.”—Eric Banks reviews “Light While There Is Light” by Keith Waldrop @nyrbclassics 4columns.org/banks-eric/lig…

OUT NOW! ISSUE 403: @prettymetals on faith and perfection in “Gothic By Design: The Dawn of Architectural Draftsmanship” @metmuseum, @MelissEAnderson writes about colors and psychic disintegration in Milagros Mumenthaler’s film “The Currents,” and more. 4columns.org

I wrote about THE CURRENTS for this week’s @4_columns. 4columns.org/anderson-melis…

OUT NOW: ISSUE 403! Eric Banks on “Light While There Is Light” by Keith Waldrop, @prettymetals on “Gothic By Design” @metmuseum, @MelissEAnderson on Milagros Mumenthaler’s film “The Currents,” and Alex Kitnick on @MuseumModernArt’s Marcel Duchamp exhibit 4columns.org

“Just as thrilling as witnessing a young actress coming into her own style is observing a veteran performer moving away from the kinds of movies that established her name.”—@MelissEAnderson on Isabelle Huppert and Delphine Seyrig in the 1975 film “Aloïse” 4columns.org/anderson-melis…

“​​The most compelling line of inquiry concerns the overlaps between the development of large language models and the long history of American psyops and related activities, sinister or mad.”—Brian Dillon on “How to See Like a Machine” by Trevor Paglen 4columns.org/dillon-brian/h…

THIS FRIDAY: @MelissEAnderson on bifurcation in Milagros Mumenthaler’s new film “The Currents,” Alex Kitnick on ready-to-wear clothing in Marcel Duchamp’s retrospective at MoMA, & more. Sign up for our free e-newsletter to get issues right in your inbox. 4columns.org/follow

ICYMI: ISSUE 402 is up for one more day! Don’t miss @MelissEAnderson on Liliane de Kermadec’s strange, austere 1975 film “Aloïse” @Metrograph, Andrew Chan on multiple contending truths in @KaceyMusgraves’s album “Middle of Nowhere” @losthighwayrec, & more. 4columns.org

“Many sought to enumerate the flora and fauna in a systematic way . . . But even such innocent-looking studies of nature hold violent histories.”—Aruna D’Souza on “Painters, Ports, and Profits: Artists and the East India Company, 1750–1850” @YaleBritishArt 4columns.org/d-souza-aruna/…

“In this transitional period in her creative life, she isn’t content to just recycle the tongue-in-cheek wordplay of her early triumphs. Many of the songs on ‘Middle of Nowhere’ avoid clicking neatly into place.”—Andrew Chan on @KaceyMusgraves’s latest 4columns.org/chan-andrew/ka…

“ ‘Prairie, Dresses, Art, Other’ permits us to glide through disparate subjects and forms eased by Danielle Dutton's voice, one so studded with perceptions that it possesses a density belying its size.”—Albert Mobilio on the 2024 book, from the archive 4columns.org/mobilio-albert…

“In essence, ‘Aloïse’ is a study of two supernovae: Isabelle Huppert, then in her astral ascendence, and Delphine Seyrig, two decades Huppert’s senior and in her mid-career annus mirabilis.”—@MelissEAnderson on Liliane de Kermadec’s 1975 film @Metrograph 4columns.org/anderson-melis…

“Paglen’s first substantial subject here is the immateriality, indeed invisibility, of images today. They are no longer seen, he argues, in the sense we once meant by the word.”—Brian Dillon reviews “How to See Like a Machine” by Trevor Paglen @VersoBooks 4columns.org/dillon-brian/h…

“It’s a relief that the institution is allowing the art to make its mark free from the burden of the overdetermined framework of the ‘taboo-breaking’ lady artist.”—Ania Szremski on Huguette Caland at the Institute of Arab and Islamic Art, from the archive 4columns.org/szremski-ania/…

“The show takes as its premise the need to hold in balance the brutality of the corporation with the innovations of the art made in its ambit.”—Aruna D’Souza on “Painters, Ports, and Profits: Artists and the East India Company, 1750–1850” @YaleBritishArt 4columns.org/d-souza-aruna/…

“On her seventh record, ‘Middle of Nowhere,’ Musgraves is at ease singing about mixed feelings that have no name. Her minimally inflected vocals constitute a kind of Rorschach test for the listener.”—Andrew Chan on @KaceyMusgraves’s latest @losthighwayrec 4columns.org/chan-andrew/ka…

OUT NOW! ISSUE 402: Aruna D’Souza on extraction and corporate style in “Painters, Ports, and Profits” @YaleBritishArt, Brian Dillon writes about the immateriality of images in “How to See Like a Machine” by Trevor Paglen @VersoBooks, and more. 4columns.org

I wrote about ALOÏSE for this week’s @4_columns. 4columns.org/anderson-melis…

OUT NOW: ISSUE 402! Andrew Chan on @KaceyMusgraves’s new album, Aruna D’Souza on “Painters, Ports, and Profits” @YaleBritishArt, Brian Dillon on “How to See Like a Machine” by Trevor Paglen, & @MelissEAnderson on Liliane de Kermadec’s 1975 film “Aloïse” 4columns.org