Portraits and Politics

New York Review

October 7, 2021

It is hard, looking at the young Alessandro de’ Medici in Jacopo da Pontormo’s painting of 1534–1535, not to empathize. Long-nosed and tender-eyed, he has a moody Adam Driver gravitas. Though he is looking at us, his hands emerge from his vast black cloak to fiddle with stylus and paper, where a faint female profile can be seen. Reputedly


Knowing How: Art and Labor

New York Review

August 18, 2021

Glenn Adamson and Alan Sekula take different approaches and rely on different areas of expertise, but the central story they tell is the same: how expressions of mind have gained hegemony over manipulations of matter, and what has been damaged in the process.


Gerhard Richter

New York Review

May 14, 2020

The events of 1944 are beyond our reach. The subject of these paintings is not that world, but our own—the place where we actively choose to know or not know, see or not see. At the Met Breuer, the whole confab of paintings, facsimiles, and historical photographs is further multiplied by a thirty-foot stretch of gray


Hilma af Klint: Painting the Beyond

New York Review

April 4, 2019

When af Klint died in 1944, she left more than 1,200 paintings, 134 notebooks and sketchbooks, and more than 26,000 manuscript pages to her nephew, a vice-admiral in the Swedish navy. She also gave instructions that her work not be shown for twenty years after her death. The work is now being seen by thousands, though whether they are ready to receive its message is another question


No Plan at All

Hatje Cantz

Fall 2021

How the Danish Printshop of Niels Borch Jensen Reinvented the Artist's Print for the Contemporary World


Philip Guston's Discomfort Zone

New York Review

January 14, 2021

Like the cigarettes and bottles, like the eye that looks insatiably but never grows a hand to fix what it sees, the hood signals a history of poor decisions and ineffectual resolutions that may or may not include mob violence. It is the kind of bad that can find a home beneath all kinds of headgear


Who Decides What's Beautiful?

New York Review

September 24, 2020

Art history is, inevitably, a story imposed on a selected group of artifacts by people who, consciously or unconsciously, have predilections and agendas. Ideally, the story grows from the objects, and the question of which objects is what animates both conservative critics and the protesters in the streets. .


The Garfields Collect

Published in conjunction with "Modern Times: British Prints 1913–1939" at the Metropolitan Museum of Art, 2021

Johanna and Leslie Garfield in conversation with Susan Tallman


Jim Dine: I Print: Catalogue Raisonné of Prints 2001–2020

Steidl, 2021

Jim Dine, Tobias Burg, Susan Tallman


Vija Celmins: 'I Just Look, and Paint'

New York Review

December 5, 2019

“To Fix the Image in Memory” is an important show for many reasons, but mainly because it puts looking before speaking. It is enjoyable because Celmins’s affection for images is contagious, and it is critical because her affection does not imply gullibility—all of that looking is used to dig into just what makes images tick. 

other recent publications

Jim Dine: I Print: Catalogue Raisonné of Prints, 2001–2020

with Tobias Burg, editor

Göttingen: Steidl 2021

Bits and Pieces: 400 Years of Collage

Print Quarterly, March 2021

What the Little Woman Was Up To:

Five Hundred Years of Women’s Work: The Lisa Unger Baskin Collection

New York Review of Books, 26 March 2020

The Self-portrait from Schiele to Beckman at the Neue Galerie

New York Review of Books, 18 July 2019  

Poons v Koons: the Art of ‘The Price of Everything'

New York Review Daily, February 2019 

Mirror Mirror: The Prints of Alison Saar

Susan Tallman, Nancy Doll and Alison Saar

Portland: Jordan Schnitzer Family Foundation 2019

The Edge of Visibility 

Art in Print, Sep-Oct 2018

Richter and Polke

Art in Print, Jul-Aug 2018

The American Dream: Pop to the Present

Stephen Coppell, Catherine Daunt, Susan Tallman

London: the British Museum 2017