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Why should we continue to live as before, when we could become one with our dogs, live as pigs, have butts like fireflies, or turn into something entirely different that cannot yet be imagined? By Dean Kissick
The Face and i-D first appeared in London in 1980, inventing the idea of the “style bible”, and with it a new kind of modern youth culture. That cultural moment is clearly over now. But how did it begin, and where did it go wrong? By Dean Kissick
The past few years have seen the rise of a generation of young rappers who are as surreal as the time from which they have emerged. These figures are like collective hallucinations: they might be amazing or they might be terrible, but all of them are weird. By Dean Kissick
An interview with Asad Raza, D. Graham Burnett and Jeff Dolven about their experimental project Schema for a school which was part of the show A Prelude to the Shed in New York.
Jean Luc Godard at Miguel Abreu Gallery by Felix Bernstein, LaToya Ruby Frazier at Gavin Brown's enterprise by Alison Gingeras, Juan Antonio Olivares at Whitney Museum by Dean Kissick
Making an artwork out of a Louis Vuitton bag seems obvious today, but Sylvie Fleury has been doing collaborations with luxury fashion brands since before they were cool. She uses muscle cars, eyeshadow and runways as material, reminding us of the absurd nature of fashion, and perhaps, of art itself. By Dean Kissick
In his column Dean Kissick writes about Neïl Beloufa's controversial show "L'Ennemi de mon ennemi" at the Palais de Tokyo in Paris and explores what it says about protest in our "byzantine circulatory system of images"
In his first column of 2018 Dean Kissick writes about going crazy for crypto. How did the blockchain's promise of immutable truth turn into an opaque cultural spectacle?
Gilbert & George have been turning themselves into an image for more than fifty years – an image that never quite adds up. In the deadlock of identity politics, their work reminds us of the political power of productive withdrawal. By Dean Kissick
In his column Dean Kissick writes about the second season of the BBC's Blue Planet and finds a swansong for a disappearing natural world full of bizarre beauty. Soon, science and technology may furnish us with an imaginary and perhaps still stranger world.
In his column Dean Kissick writes about Sophia, the first robot to be granted citizenship by a country. But as a female humanoid robot, she says more about humans' lack of imagination than the new forms and relationships that lie ahead of us.
We are on the edge of the abyss, but nobody seems to really care. In his latest column Dean Kissick writes about how the present threat of a nuclear war gets lost in the memeification of reality and politics
Francesco Vezzoli is mostly associated with the extreme glamour and Hollywood stars of the work he had made around ten years ago. Since then, times have changed. In a moment when celebrity culture has become the hard reality of politics and the art world, nothing is innocent anymore. By Dean Kissick
Jordan Wolfson Real violence, 2017, (Installation view) Virtual reality headsets, high-definition video, color, Sound; 2:25 min. 2017 Whitney Biennial ( March 17-June 11, 2017). Collection of the artist; courtesy David Zwirner, New York, and Sadie Coles HQ, London.
This has been a year of disappearing statues, but what will become of all the defaced idols and broken images? Dean Kissick on why iconoclasm is back and what we can do about its aftermath.
In this month’s column, Dean Kissick writes about what happens when subcultures emerge from the underbelly of the internet, Angela Nagle’s Kill All Normies, and how the culture wars of the 90s have come back to haunt us
Microcelebrities are the heroes of our time. A conversation with Deanna Havas and Bunny Rogers helps get to grips with a phenomenon that is transforming the nature of fame. By Dean Kissick
M.I.A's campaign to help greenwash H&M is a catastrophe. Edward Snowden is collaborating with Jean-Michel Jarre on a techno track. Lady Gaga visited Assange when he was first on the lam. All of this is totally horrible and wrong. Dean Kissick explains why and asks: How powerful is soft power? And what does it mean to be "radical chic" today?
Hieronymus Bosch's work hasn't just withstood the test of time; his paintings and illustrations currently on display at the Noordbranants Museum emerge from the archive with uncanny contemporaneity. Los Angeles based writer Dean Kissick puts Bosch's 500 year old esoterica into dialogue with a variety of images circulating our modern visual economy.
Dean Kissick discusses the shifting value of the term “artist” in our current state of global affairs and the complicity between Comedien Nathan Fielder and political figures from Donald Trump to Vladimir Putin.
If 72% of 18 to 25-year-olds say they can express their feelings better though using emojis than words what does that mean for the future of written language? Dean Kissick discuses Starbucks conspiracy theories, ordering Domino’s pizza and if heartbreak can be conveyed by pictures of anthropomorphic food.
After a night on the town, Dean Kissick takes a stroll through Las Vegas. He comes across hope and misery, Mike Tyson and a stripper with a real bullet wound.
The buzz in the build-up had all been about Caitlyn Jenner — attending, or possibly walking the catwalk. In the end she didn't come to the show — this Givenchy show, where fashion and art would celebrate their latest reunion. The BFF‘s Marina Abramović and designer Ricardo Tisci constructed a favela-inspired setting to combine runway show and art performance. Our writer Dean Kissick was not amused.
De-evolution against the existential terror of everyday life is still trending. The designer Thomas Thwaites commissioned a set of special prosthetics and decided to spend a couple of days living as a goat. His experiment makes Dean Kissick think about modern communication, the Paleo diet, ancient satyrs, and Miley Cyrus.
From Donald Trump to Rihanna, True Detective, and 50 Cent: this summer a new theatricality has become evident in American culture. The congruence of camp and violence has given us Young Thug, a rapper who calls his guns “dicks” for reasons nobody knows.
Of course you've already seen the pictures Juergen Teller took of himself with the rapper Kanye West and his wife Kim Kardashian, the Inventress of Selfie. Our author explains why it takes an age of the grotesque to make Kim's posterior into a work of art.
![Video still from Coca-Cola's 1971 commercial "I want to teach the world to sing"](https://www.spikeartmagazine.com/sites/default/files/styles/medium_square_400/public/users/shared/articles/images/maxresdefault.jpg?itok=EZ8POkki "Video still from Coca-Cola's 1971 commercial "I want to teach the world to sing"")
