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in the shadows of the contemporary journal of art and aesthetics
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www.effects-journal.com-
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#effectsjournal#effects4holes#holes#paulpfeiffer#colgateuniversity#cliffordgallery#immediacy#mediation#manray#thegift
Recent posts
Why should we let art challenge and disorient us when everyday life already supplies more than enough anxiety and uncertainty?
This question lies behind Anna Kornbluh’s Immediacy, or, The Style of Too Late Capitalism, a polemic against a culture of flow: autofiction and streaming, immersive exhibitions and algorithmic feeds, endless forms of apparently frictionless contact with the real.
Anna Moser begins from Kornbluh’s powerful defence of mediation, but questions whether immediacy can—or should—simply be rejected. If immediacy is constitutive of contemporary experience, might art have to pass through its forms rather than retreat from them?
Looking to Alina Tenser, Laura Owens and Ben Lerner, Moser describes an emergent ‘mediated immediacy’: art that takes up the seductions and visual languages of the present while introducing glitches, delays and contradictions into their apparent transparency.
Neither immersion nor disjection, but something less certain—and perhaps more hospitable.
Read ‘On Immediacy’ by Anna Moser now on the Effects website, link in bio.
@annaccmoser #effectsjournal #immediacy #mediation
19 Aug 2026
What if a gift were not an object, but the experience of not knowing?
In “The Gift”, Elaine ML Tam considers two works by Man Ray: the tack-studded flat iron he named ‘The Gift’ and the shrouded, bound object ‘The Enigma of Isidore Ducasse’. Both works frustrate the desire to possess, reveal and understand.
Moving through Man Ray, Tadeusz Kantor, Melanie Klein, Roland Barthes and Isidore Ducasse, Tam asks what might be gained by refusing the demand for visibility. Against a culture in which images increasingly determine what can be believed, imagined and desired, ‘The Enigma’ becomes an object of resistance: unreachable, irreducible and insistently elsewhere.
“The gift is the ever-withdrawing enigma; an abstinence from representation; a figure foregrounded by the duration of withholding.”
Read “The Gift” by Elaine ML Tam now on the Effects website. Link in bio.
@deep_frill #effectsjournal #manray #thegift
15 Jul 2026
What would it mean for a painting to be inbred?
Reviewing ‘My Moody Muse’ at David Zwirner, London, Andrew Witt begins with an unsettling intuition: that Steven Shearer’s paintings seem to belong to the same troubled bloodline. Faces recur across decades and personae. A Baroque composer becomes a metalhead. A fallen angel returns as a punk. Images inherit from other images, carrying their own recessive traits.
Bringing together Aby Warburg’s ‘Nachleben’ and Victor Stoichita’s writing on self-reflexive painting, Witt argues that Shearer’s works do more than depict figures: they stage the strange persistence of forms as they pass from image to image, generation to generation.
Read the review now on the Effects website, link in bio.
@andrew.c.witt @viviseconds #stevenshearer @davidzwirner
06 Jul 2026
“We live in a gridded world.”
Our homes, streets, screens and cities are built from little boxes. The grid doesn’t simply organise space, it shapes the way we live together.
In his latest review for Effects, David Whelan considers ‘Little Boxes’, an exhibition at Addison Gallery (@addisongalleryofamericanart) that follows the square and rectangle through post-war American art, revealing geometry as both a promise of order and a mechanism of division.
David Whelan is an artist living in the Hudson Valley, New York. His reviews can be found in the Brooklyn Rail, Artforum and Two Coats of Paint, among other publications.
Read the full review on our website, link in bio.
#peterhalley #billowens #stanleywhitney #stevenlocke
30 Jun 2026
“WITHOUT DECEPTION WE ARE DECEIVED”
Art historian Susanna Berger speaks with Orlando Reade and Christopher Page about anamorphosis and perspectival architecture, distortion and doctrine, and the idea that we might have to be deceived in order to find the truth.
Drawing on the research behind her acclaimed new book ‘The Deformation’, Berger explores a Baroque world of stretched, fractured and distorted images whose meanings remain hidden until viewed from the right position. Far from being visual novelties, these works expose the complex relationship between appearance and truth.
Read the full interview on our website, link in bio.
#effectsjournal #susannaberger #thedeformation #anamorphosis #baroque
22 Jun 2026
Daisy Lafarge’s intoxicating poem ‘Sewer Theory’, written for Effects 4: Holes, is now available to read on our website.
In the poem, odour becomes a theory of reading: the stinking sewer as both figure and method—a subterranean channel of waste, infrastructure and lyric overflow. Rather than treating reading as a clean decipherment, Lafarge follows what leaks from the text—its residues, vapours, contaminations, and stubborn opacity.
Link in bio.
@daisylafarge #effects #sewertheory #poem #cloacamaxima
12 May 2026
“What appears as an erasure is actually an act of camouflage.”
In ‘Vanishing Points,’ published in Effects 4: Holes, Jan Tumlir speaks with artist Paul Pfeiffer about erasure not as simple deletion, but as a way of making visible the unstable relation between image and spectator, foreground and background, spectacle and crowd. From the ghostly residual silhouettes of ‘The Long Count’ to the vertiginous architecture of ‘Vitruvian Figure,’ this wide-ranging interview follows the void as it opens onto questions of perception, camouflage, trauma, memory, and the unconscious.
Jan Tumlir is a writer, curator and teacher based in LA. He is founding editor of art journal X-TRA, a regular contributor to Artforum, author of numerous books and catalogue essays, and is an editor of Effects. Paul Pfeiffer is a sculptor, photographer and video artist, whose work has been exhibited in museums and galleries all over the world, including a recent large-scale survey exhibition, ‘Paul Pfeiffer: Prologue to the Story of the Birth of Freedom,’ that has travelled from MOCA in LA to the Museo Guggenheim in Bilbao to the MCA Chicago.
Read the full interview on our website now. Link in bio.
#effectsjournal #jantumlir #paulpfeiffer @pmp2021 #vanishingpoints
12 Mar 2026
“These now-vacant vitrines, still illuminated, stand as stark, uncomfortable symbols…of a painful and yet-to-be fully realised past.”
In ‘Holes in the Collection’, published in Effects 4: Holes, Tabitha Steinberg examines how museums produce, manage and display absence. What begins as a figure of speech becomes a material history of bombardment, colonial extraction, classification, repatriation and reform. At stake is not only what museums keep, but how they account for what cannot be returned.
Steinberg is a gallerist, curator and writer based in LA. She is co-founder of the gallery Ehrlich Steinberg, and her writing can be found in various publications including Art Monthly and Frieze.
Read ‘Holes in the Collection’ now on our website. Link in bio.
@st4bs #effectsjournal #tabithasteinberg #holesinthecollection #effects4holes
16 Feb 2026
You can now find Effects 4: Holes in London at the ICA Bookshop, Koenig Books at Serpentine Galleries and Whitechapel Gallery, Blue Mountain School, and Cafe OTO; in New York at Printed Matter; and in Berlin at Pro qm.
Copies are running low so be sure to get one before they go!
Also, as ever, available from our website. Link in bio.
#effectsjournal @icalondon @koenigbooksltd @serpentineuk @whitechapelgallery_books @cafeotodalston @bluemountainschool @printedmatterinc @proqm
11 Dec 2025
Last few days of HOLES at @colgateuniversity’s museum, the Clifford Gallery. The exhibition expands upon Effects 4: Holes, our current print issue.
Images:
1. Paul Pfeiffer, Corner Piece (2004)
2. Milano Chow (@milanosalami), Dual Façade with Tulip (2024)
3. Lakshmi Luthra, Noli Me Tangere (2024)
4. Mary Helena Clark (@maryhelenaclark), Brooder 6; Decoy 1 (2024 & 2025)
5. Paul Sietsema, Brut spill (2020)
6. Christopher Page (@christopheropage), That Which is Missing (2025)
7. Clementine Keith-Roach (@clementinekeithroach), Eternal Return (2024)
8. Patricia Treib, Sinuate (2023)
9. Noel W Anderson (@nwa_studios), Alcindor Lost in the Sirens’ Song (2023-2025)
10-11. Jeffrey Stuker (@jeffrey_stuker) & Nour Mobarak (@adult_nour), Untitled (2024)
12. Larissa Sansour (@larissasansour) & Søren Lind, Familiar Phantoms (2023)
13. Adam Putnam (@arpzap), [Untitled] - Hole 4 (2022)
14. Eric N. Mack (@ernatmack), Satin and fluid evening dresses (2023)
Curated by Lakshmi Luthra, editor of Effects and Professor of Art and Film & Media Studies @colgateuniversity.
#effectsjournal #colgateuniversity #effects4holes #cliffordgallery #holes
05 Nov 2025
Could AI ever fall in love? Or are computers immune from the contagion of love, forever doomed merely to calculate? Is human love a kind of knowledge or, in fact, a kind of non-knowledge?
In his new essay, ‘Loving the Frightful (W)Hole’, philosopher Richard Boothby proposes that when we fall in love we are drawn not to something we understand and recognise in the other, but something obscure and even unknowable. The lover, he claims, is magnetised by the abyss in the loved one.
Richard Boothby is professor of philosophy at Loyola University Maryland and one of the world’s foremost Lacanian theorists. He has been exploring the consequences of Jacques Lacan’s radical rethinking of Freudian psychoanalysis since the 1990’s.
Read this amazing essay on our website now, or read it in print in our fourth issue, Effects 4: Holes, which is available now from our issues page. Link in bio!
#effectsjournal #richardboothby #lovingthefrightfulwhole #holes #effects4holes #love #abyss
13 Oct 2025
HOLES, an exhibition that expands on Effects 4: Holes, is now open at Colgate University’s museum the Clifford Gallery in upstate New York.
Through rips and shadows, enclosures and erasures, the artworks in this exhibition peer across the familiar into the unknown. A range of conceptual approaches and material processes are used to probe the illusionistic and associative power of the image, illuminating the fragile moment when a form coheres—or begins to fall apart.
The exhibition is curated by Lakshmi Luthra and includes works by @ernatmack, @milanosalami, @nwa_studios, @maryhelenaclark, @christopheropage, @jeffrey_stuker & @adult_nour, @arpzap, @clementinekeithroach, @larissasansour & Søren Lind, Paul Pfeiffer, Patricia Treib, Lakshmi Luthra and Paul Sietsema.
The exhibition was opened with talks by our editor @christopheropage and contributor @nwa_studios.
It’s a beautiful exhibition, up until November 12th. If you’re in upstate New York be sure to pay it a visit!
@colgateuniversity #colgateuniversity #cliffordgallery #effectsjournal #exhibition #holes #ericnmack #milanochow #noelwanderson #maryhelenaclark #christopherpage #jeffreystuker #nourmobarak #adamputnam #clementinekeithroach #larissasansour #sørenlind #paulpfeiffer #patriciatreib #lakshmiluthra #paulsietsema
29 Sep 2025
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