Tina Rivers Ryan

Art historian to critic to curator to editor. Disabled. Cybergoth. Mom. Inquiries via form on my site.

[Tina Rivers Ryan @TinaRiversRyan]

It’s official!:

“Electric Op” opens to the public on 9/27 at the @BuffaloAKG!

So lucky/honored that my swan song as a curator features literal scores of amazing artists:

https://t.co/uUkgnJ6OzX

(Yes there will be a catalog—and some fun merch too ;)

[Tina Rivers Ryan @TinaRiversRyan]

Whoa, @rhizome's Conifer is no more? https://t.co/D8Mkukkovr

[Mitchell F Chan @mitchellfchan]

What makes an artwork great?

At @artblocks_io weekend in Marfa, I tried to share the answer by looking deeply at 5 perfect artworks at talking about what I saw.

The whole talk is now online! Many thanks to @opensea for commissioning this lecture!

https://t.co/DpsHL8Vra5

[DREW DANIEL @DDDrewDaniel]

Folks! Sorry to toot my own horn but: this record comes out this FRIDAY- and you can grip it in either lime or lemon flavored vinyl from the good folks below.

[artforum @Artforum]

The Walker Art Center is closed today, January 23, in solidarity with a Minnesota-wide general strike protesting ICE activity. “This reflects our institutional values,” a spokesperson said. https://t.co/ruMY2zuRGo

[Ranjodh Singh Dhaliwal @ranjodhd]

For the inaugural issue of Disjunctions—a new magazine dedicated to the analysis and critique of contemporary technoscience—I wrote a short piece on our role as Generative AI's involuntary beta testers.
https://t.co/oFtw41aJWo

[Nicholas Kristof @NickKristof]

There's supposed to be a ceasefire in Gaza. So why do Gazan children continue to be killed? https://t.co/Wheh9JTuku

[Tina Rivers Ryan @TinaRiversRyan]

@_deafbeef Art.

[Kevin @KevinBuist]

For @Artforum I wrote about @mitchellfchan's series of "Zantar" video game artworks, which I saw and played at @nguyenwahed in New York in May. These works are funny, sad, and a biting critique of crypto, the attention economy, and gamified finance. Link below...

[artforum @Artforum]

On the December 2025 cover: Bad Bunny performing on the third day of his concert residency, Coliseo de Puerto Rico José Miguel Agrelot, San Juan, July 13, 2025. Photo: Eric Rojas.

[Mitchell F Chan @mitchellfchan]

Artforum’s Best of 2025!!!

I am really proud of all my friends involved in making this show! These people make brilliant and challenging work, the kind that takes a while to sink in and hold in your brain, and I’m genuinely happy to see them get recognition like this. ❤️❤️❤️

@matto__matto @isthisanart_ @figure31 @0xfff @sssluke1 @0x113d @rheaplex Paul Seidler, Absent, @0xhaiku

[113 ♖♖♖ @0x113d]

World Computer Sculpture Garden
@Artforum Best of 2025
Artist’s Artists

[artforum @Artforum]

Painter, jazz musician, and assemblage artist Llyn Foulkes, known for his uncategorizable work and his resistance to the commodification of art, has died. https://t.co/34ihGYPqig

[artforum @Artforum]

In this episode of “Under the Cover,” Artforum Editor in Chief @tinariversryan visits the @studiomuseum in Harlem to speak with curator Connie H. Choi about the museum’s reopening. https://t.co/yJPDVnmZXh

[artforum @Artforum]

For Artforum’s November 2025 issue, Editor in Chief Tina Rivers Ryan sat down with Studio Museum director Thelma Golden and curator Connie H. Choi to discuss Tom Lloyd and the Studio Museum in Harlem. https://t.co/jryDLrSjTC

[Tina Rivers Ryan @TinaRiversRyan]

@MPtherealmvp @amplice_eth When we finally did it and she went from waking up every three hours to sleeping 12 hours after only a week I was FURIOUS we hadn’t done it sooner

[Kevin @KevinBuist]

Something I wrote will be in the November print issue of Artforum. 👀

[Tina Rivers Ryan @TinaRiversRyan]

@miminguyenmimi 👋

[Mitchell F Chan @mitchellfchan]

Had kinda the ultimate "How it started / How it's going" summary today:

Woke up to find that my first ever NFT series from 2017, Digital Zones of Immaterial Pictorial Sensibility had been collected by JediWolf, @jediwolf, for 8.5ETH.

At the same time, the most recent issue of Artforum hit the shelves featuring a 2-page review of my latest series, The Zantar Triptych.

Both of these artworks are the result of thinking deeply about technology. I don't mean thinking about how they can be manipulated as an artistic medium, or how I can get really proficient in these technologies. I mean thinking about what technology mean in a broader social context. I am not interested in fiddling around with smart contracts or game engines to try to make something kewl; I'm interested in thinking about the consequences of a world where everyone fiddles around with smart contracts or game engines.

These technologies reinforce and ossify some old social patterns, and sometimes enable new ones.

Briefly, but specifically: Digital Zones was about the ways cryptocurrency reinforced an old (but very experimental and then-unproven) pattern of financializing immateriality. The Zantar Triptych is about the ways that gameplay patterns reinforce value extraction from users.

I am proud of these artworks! I think they are good!

I am also extremely aware of how lucky I am. Not everyone who makes good art gets to see their name in print in Artforum; not everyone who makes good art gets to have success in the market. I am also not really one who enjoys putting in work on social media. (This post aside.) So a lot of this is probably dumb luck.

All that is to say, I am just extremely grateful that after all these years, people care and pay attention. I am especially grateful to @miminguyenmimi , who supports weird-ass art like mine, brings it into the world, and works hard to make people care about it, and @KevinBuist, for taking the time to look deeply at this art and bring real insight into it. Thank you to every collector and artist in my weird little world.

[Tina Rivers Ryan @TinaRiversRyan]

@hedlike_a_hole What the fuck is that

[LoVid🫂📼 @lovidlovid]

the full spread of the wonderful review of Infinite Images in @Artforum including 🎯 paragraph about Hugs on Tape
"...LoVid has been bringing analog tools and techniques into conversation with digital platforms, resulting in works that look simultaneously high-tech and lo-fi..."