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Winslow Homer

The Atlantic

May 2022

The Homer of The Gulf Stream is both more worldly and more elusive than the Homer of little red schoolhouses and sou’westers. And what the 90 or so paintings and watercolors assembled in “Crosscurrents” make clear is that the most salient quality of his art was never straightforwardness; it is his knack for using visual precision to demonstrate the limits of vision. We can see what is happening but not what will happen. He is the master of the ambiguous outcome, which also makes him the master of the unclear moral: Believe in the ship, and The Gulf Stream is a lesson in forbearance; believe in the waterspout, and it is a lesson in futility.

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Seeing Things: Anna Mary Howitt in Art History

in Picturing the Invisible: Exploring interdisciplinary synergies from the arts and the sciences. Edited by Paul Coldwell and Ruth M. Morgan

January, 2022

In the freshly written saga of Victorian women artists, Howitt was cast as the system’s ‘tragic victim’. This story is seductive. It pits a likeable, relatable heroine against a misogynistic villain, and dovetails neatly with current understandings of gender politics. It is, however, full of holes. The most yawning lacuna concerns the art itself: none of Anna Mary Howitt’s paintings is currently locatable.

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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.

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

Steidl, 2021

Jim Dine, Tobias Burg, Susan Tallman

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Sybil & Cyril: Dynamism, Domesticated

New York Review

March 10, 2022

Between-the-wars has become a popular trope of film and television—cloche hats and people huddled before enormous radios—but Uglow gives us something else: thinking people navigating a world that was not just different from our own but also different from the one that nostalgia had imposed on them. Sybil and Cyril may have been adventurous and “modern,” but they spent as much time looking backward as looking

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No Plan at All

Hatje Cantz, 2021

Susan Tallman & Niels Borch Jensen

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

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The Garfields Collect

Johanna and Leslie Garfield in conversation with Susan Tallman

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

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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

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The House That Johns Built

New York Review

January 13, 2022

What has Johns done for us lately? Pretty much what he did for us in the first place: he continually disrupts the mental shorthand that converts complex visual experience into simple mental categories, with all their buttressing opinions, received wisdom, and personal preferences. In a world (including the art world) where “visuals” are used to simplify arguments and kindle beliefs, Johns reminds us that doubling, bifurcation, and uncertainty are the terms of vision itself.

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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

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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

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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. .

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