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	<title>jonathantdneil.com</title>
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	<link>http://jonathantdneil.com</link>
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		<title>ARTICLE: Eve Sussman and The Rufus Corporation &#124; ArtReview</title>
		<link>http://jonathantdneil.com/2012/01/13/article-eve-sussman-and-the-rufus-corporation-artreview/</link>
		<comments>http://jonathantdneil.com/2012/01/13/article-eve-sussman-and-the-rufus-corporation-artreview/#comments</comments>
		<pubDate>Fri, 13 Jan 2012 16:40:53 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[ArtReview]]></category>
		<category><![CDATA[Eve Sussman]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[Malevich]]></category>
		<category><![CDATA[Stanislaw Lem]]></category>
		<category><![CDATA[The Rufus Corporation]]></category>
		<category><![CDATA[whiteonwhite:aglorithmicnoir]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=706</guid>
		<description><![CDATA[Eve Sussman and The Rufus Corporation, still from whiteonwhite:algorithmicnoir, 2011 &#160; The question of why Kazimir Malevich, painter of the Black Square (1914–5), inventor of Suprematism, plowhead of Russian Modernism and sacrifice of the Soviet avant-garde, turned, or rather returned, during the 1930s, to painting odd, faceless, geometricised peasants has yet to be answered fully [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>REVIEW: Dissonant Returns at Art Basel Miami Beach &#124; Art Agenda</title>
		<link>http://jonathantdneil.com/2011/12/03/dissonant-returns-at-art-basel-miami-beach-art-agenda/</link>
		<comments>http://jonathantdneil.com/2011/12/03/dissonant-returns-at-art-basel-miami-beach-art-agenda/#comments</comments>
		<pubDate>Sat, 03 Dec 2011 14:00:46 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Ana Mandieta]]></category>
		<category><![CDATA[Andy Warhol]]></category>
		<category><![CDATA[Art Agenda]]></category>
		<category><![CDATA[Art Basel Miami Beach]]></category>
		<category><![CDATA[Barbara Kruger]]></category>
		<category><![CDATA[Carl Andre]]></category>
		<category><![CDATA[Cognitive Dissonance]]></category>
		<category><![CDATA[Elmgreen & Dragset]]></category>
		<category><![CDATA[Emily Sundblad]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[L&M Arts]]></category>
		<category><![CDATA[Martha Rosler]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=702</guid>
		<description><![CDATA[Barbara Kruger, &#8220;Untitled&#8221; (Money makes money), 2011 Cognitive dissonance. It’s a cliché by now, a toss-off term used to explain (or to keep from explaining) all sorts of contradictions, hypocrisies, moral and ethical failings, feats of self-loathing, etc. It has become a standard operating principle, the kernel of cynical reason, the delivery mechanism of mental detachment. [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Boyd Level Guide to Art Basel Miami Beach 2011</title>
		<link>http://jonathantdneil.com/2011/11/16/boyd-level-miami-guide-2011/</link>
		<comments>http://jonathantdneil.com/2011/11/16/boyd-level-miami-guide-2011/#comments</comments>
		<pubDate>Wed, 16 Nov 2011 16:43:27 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Art Basel Miami Beach]]></category>
		<category><![CDATA[Art Fairs]]></category>
		<category><![CDATA[Boyd Level]]></category>
		<category><![CDATA[Miami Basel]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=689</guid>
		<description><![CDATA[Boyd Level&#8217;s 2011 Pocket Guide to Art Basel Miami Beach is now available for download (print double-sided and fold into quarters). &#160;]]></description>
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		<title>POST: On seeing a performance of exploitation&#8230; &#124; Artworld Salon</title>
		<link>http://jonathantdneil.com/2011/11/12/post-on-seeing-a-performance-of-exploitation-artworld-salon/</link>
		<comments>http://jonathantdneil.com/2011/11/12/post-on-seeing-a-performance-of-exploitation-artworld-salon/#comments</comments>
		<pubDate>Sat, 12 Nov 2011 19:42:30 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Hrag Vartanian]]></category>
		<category><![CDATA[Jeffrey Deitch]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[LA Moca]]></category>
		<category><![CDATA[Marina Abramovic]]></category>
		<category><![CDATA[Yvonne Rainer]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=684</guid>
		<description><![CDATA[Originally posted at Artworld Salon. Making its way across the web as I write is a story about the exploitation of performers at the hands of Marina Abramović.  ARTINFO is running the best recap of the story, and Hrag Vartanian at Hyperallergic has picked it up and carried it as well, but here’s a brief: Abramović was tapped by LA MOCA to [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>ARTICLE: Josephine Meckseper &#124; ArtReview</title>
		<link>http://jonathantdneil.com/2011/11/03/article-josephine-meckseper-artreview/</link>
		<comments>http://jonathantdneil.com/2011/11/03/article-josephine-meckseper-artreview/#comments</comments>
		<pubDate>Thu, 03 Nov 2011 17:46:12 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[ArtReview]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[Josephine Meckseper]]></category>
		<category><![CDATA[London Riots]]></category>
		<category><![CDATA[Timothy Taylor Gallery]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=658</guid>
		<description><![CDATA[Josephine Meckseper, Emirates Palace, 2011; Timothy Taylor Gallery Consider this: ‘Around 2000, I began to focus on making shelves and vitrines. I felt motivated by the idea of establishing a link to real shop windows smashed by rioters.’ Or this: ‘The mirrored sculptures, vitrines, and slatwalls are not meant as affirmations or glorifications of consumerism. [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>REVIEW: &#8216;Can I Get a Witness&#8217; &#124; Ah Hole Ah Hole &#124; ArtReview</title>
		<link>http://jonathantdneil.com/2011/11/03/review-can-i-get-a-witness-ah-hole-ah-hole-artreview/</link>
		<comments>http://jonathantdneil.com/2011/11/03/review-can-i-get-a-witness-ah-hole-ah-hole-artreview/#comments</comments>
		<pubDate>Thu, 03 Nov 2011 17:37:01 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Ah Hole Ah Hole]]></category>
		<category><![CDATA[Art Blog Art Blog]]></category>
		<category><![CDATA[ArtReview]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[Joshua Abelow]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=655</guid>
		<description><![CDATA[Ah Hole Ah Hole, &#8220;Can I Get a Witness&#8221;; installation at Art Blog Art Blog ‘What, exactly, is a blog?’  This question is our contemporary moment’s shibboleth.  If you ask it, it’s likely that you’re receiving social security checks, or get into the movies at a reduced rate.  Nevertheless, it’s a valid existential question too, [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>BOOK REVIEW: The Royal Remains &#124; Eric L. Santner &#124; ArtReview</title>
		<link>http://jonathantdneil.com/2011/11/03/book-review-the-royal-remains-eric-l-santner-artreview/</link>
		<comments>http://jonathantdneil.com/2011/11/03/book-review-the-royal-remains-eric-l-santner-artreview/#comments</comments>
		<pubDate>Thu, 03 Nov 2011 17:22:34 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[ArtReview]]></category>
		<category><![CDATA[Eric L. Santner]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[The Royal Remains]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=653</guid>
		<description><![CDATA[Eric L. Santner, The Royal Remains: The People&#8217;s Tow Bodies and the Endgame of Sovereignty The University of Chicago Press, 2011 ’Sovereignty studies’ has been on the rise over the last decade. The translation of Giorgio Agamben’s Homo Sacer in 1998 and the publication of Antonio Negri and Michael Hardt’s Empire in 2000 did much to [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>REVIEW: Ostalgia &#124; New Museum &#124; ArtReview</title>
		<link>http://jonathantdneil.com/2011/11/03/review-ostalgia-new-museum-artreview/</link>
		<comments>http://jonathantdneil.com/2011/11/03/review-ostalgia-new-museum-artreview/#comments</comments>
		<pubDate>Thu, 03 Nov 2011 17:11:06 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[ArtReview]]></category>
		<category><![CDATA[Eric Bulatov]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[Massimiliano Gioni]]></category>
		<category><![CDATA[Ostalgia]]></category>
		<category><![CDATA[The New Museum]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=649</guid>
		<description><![CDATA[Erik Bulatov House, 1992; Seva&#8217;s Blue, 1979; Russian XX Century, 1998-99; from The New Museum Erik Bulatov’s House (Dom), completed in 1992, just months after the collapse of the Soviet Union, could serve as an emblem of the kind of time slip that is everywhere present in Ostalgia, New Museum Director of Exhibitions Massimiliano Gioni’s [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>REVIEW: Thomas Lowe &#124; Horton Gallery &#124; ArtReview</title>
		<link>http://jonathantdneil.com/2011/06/28/review-thomas-lowe-horton-gallery-artreview/</link>
		<comments>http://jonathantdneil.com/2011/06/28/review-thomas-lowe-horton-gallery-artreview/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 21:49:50 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[ArtReview]]></category>
		<category><![CDATA[Hannah Hoch]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[Thomas Lowe]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=646</guid>
		<description><![CDATA[Thomas Lowe, Thanks. Come Again, 2011; image from Horton Gallery Dada photomontage – think Hannah Höch’s iconic Cut with the Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany (1919) – was meant to disrupt the plenitude of the ‘bourgeois’ easel picture. It was syntactical rather than mimetic. Like an editorial, one had to [...]]]></description>
		<wfw:commentRss>http://jonathantdneil.com/2011/06/28/review-thomas-lowe-horton-gallery-artreview/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>ESSAY:  &#8220;Fidelity to the Image&#8221; &#124; Robert Longo &#124; God Machines</title>
		<link>http://jonathantdneil.com/2011/05/19/robert-longo-god-machines-fidelity-to-the-image/</link>
		<comments>http://jonathantdneil.com/2011/05/19/robert-longo-god-machines-fidelity-to-the-image/#comments</comments>
		<pubDate>Thu, 19 May 2011 13:31:23 +0000</pubDate>
		<dc:creator>Jonathan T. D. Neil</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Fidelity to the Image]]></category>
		<category><![CDATA[Galerie Thaddaeus Ropac]]></category>
		<category><![CDATA[God Machines]]></category>
		<category><![CDATA[Jonathan T D Neil]]></category>
		<category><![CDATA[Robert Longo]]></category>

		<guid isPermaLink="false">http://jonathantdneil.com/?p=636</guid>
		<description><![CDATA[“To have fidelity to the image.” This is how Robert Longo recently described the way he thought about making the kind of art that he does.  It’s a statement that requires greater attention now that this trilogy of works, what I understand as the God Machines proper, take as their subject the holiest sites—St. Peter’s [...]]]></description>
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