Anne Wagner

When Hal Foster uses the word ‘first’ in the title of his confidently focused study, he means to start us thinking about Pop now and then. It is a reference to Reyner Banham’s Theory and Design in the First Machine Age (1960), which argued that modernism’s prewar optimism was over and done. ‘We have already entered the Second Machine Age,’ Banham declared,...

Tate Modern’s retrospective of the Brazilian artist Mira Schendel – born Myrrha Dagmar Dub in 1919 in Zurich, brought up in Italy, uprooted by war to Yugoslavia, and from there to Brazil in 1949 – is moving, difficult, full of strange writing and immediate visual pleasure.* Schendel was an intellectual, feeding on Wittgenstein and Cardinal Newman (her two incompatible...

‘What does a woman want?’ I still remember my first encounter with the question Freud put to Marie Bonaparte in 1925, just as I recall my inability to stomach its aggressive and mystifying tone. Years have passed since then, and with them many Hannah Höch exhibitions, yet it has taken the riveting new retrospective at the Whitechapel Gallery – her first ever exhibition...

It’s easy​ to see why Richard Tuttle’s work has a tendency to rile people – in particular people who insist on believing that sculpture, even if it no longer needs to be solid and substantial, should at least cling to material existence. From early on Tuttle seemed set on refusing such notions; his work came across as impromptu and elusive, a mirage of fragments, shadows...

How early​ was early photography? And how long did its earliness endure? The customary answer is just short of three decades, from about 1839 to 1865. The first date marks not the beginning of photographic experiments, but the year Louis Daguerre announced his ability to ‘seize the light’, a claim soon rephrased by William Henry Fox Talbot as the art of ‘fixing a...