Andrew Berardini

View of “Robert Barry,” 2015. Photo: Joshua White. Passing through Rudolph Schindler’s Bethlehem Baptist Church, one witnessed fifty-one glimmering words, which whispered from the walls of this nea…

View of “Bill Jenkins and Chadwick Rantanen,” 2015. An observatory for barely unpacked product and its packaging, this complex, interweaving installation of Chadwick Rantanen’s machines and Bill Je…

Michel Auder, Chelsea, Manhattan–NYC, 1990 (edited 2008), Hi8 video transferred to digital video, color, sound, 6 minutes 21 seconds. I can see you. Perched near a window, looking down on the heat …

The powdery, soft-toned Surrealist ceramic sculptures of Genesis Belanger round off with pillowy curves and blush with bubble-gum colors. Just what is it that makes her work so different, so appeal…

ANDREW BERARDINI ON JOHN BOSKOVICH’S BOSKOSTUDIO, 1996–2006

WE SLIP INTO REVERIE. The traditional death notices along the passages and vaporetto stops around Venice have more faces than usual. The blue and yellow flag of Ukraine flaps in the cold breeze blowing off the lagoon. The carnival masks stare from shop windows at the face masks of those on the other…

Andrew Berardini on Desert X 2021

JOHN BOSKOVICH’S BOSKOSTUDIO was a darkling cave of wonders: twirling statues, concave mirrors, a carpet emblazoned with a pentagram, and walls painted colors I can only describe as poisonous. The artist said it was a “literalization” of Jean des Esseintes’s secret hideout in Joris-Karl Huysmans’s 1884 novel À rebours. A monument to the inward spiral, it was also, quite simply, Boskovich’s home, studio, and showroom in Los Angeles, a set he constructed between 1996 and his death in 2006 at the a…

Andrew Berardini at Art Athina and David Shrigley’s Deste Slaughterhouse project

Andrew Berardini on the inaugural edition of the Acid-Free Art Book Market