Chris Wiley

A tribute to the photographer, from the ‘sucker punch’ of ‘The Americans’ (1958), to his later work ‘howling with anguish, frustration and ennui’

By Chris Wiley

In the DESTE Foundation’s summer shows, new art from Greece (and Kiki Smith)

By Chris Wiley

In her compellingly off-kilter sculpture, Reaves imagines strange and dire futures

By Chris Wiley

In the Iranian artist’s work, memory is smudged, an accretion of sorrows or nameless longings, a pile of waterlogged books in a flooded library

By Chris Wiley

‘After Kurzweil’s book landed with a thud in the centre of our culture, it was impossible not to address its claims’

By Chris Wiley

Chris Wiley undertakes a gallery crawl during SP-Arte, taking in shows by Hilma af Klint, Paulo Nimer Pjota and Nicolás Paris

By Chris Wiley

Whitney Museum of American Art, New York, USA

By Chris Wiley

‘Elastic Hours’, the 8th edition of the Sequences biennial in Reykjavik, Iceland, took time scales – both short and long – as its subject

By Chris Wiley

Arsenale and Giardini, Venice, Italy

By Chris Wiley

The first of three articles exploring art, class and precarity: a range of artists, curators and writers explore how class shapes art-making today

Eli Roth, The Green Inferno, 2013. Courtesy: Sobras International Pictures, Chile

Two recent films show contrasting attitudes to the indigenous cultures of the Amazon 

By Chris Wiley
Illustration by Lauren Rolwing

The best art eludes easy interpretation

By Chris Wiley