The Hand of the Working-Class Artist
And why I want to see it more visibly in contemporary art| Kieran’s Newsletter
And why I want to see it more visibly in contemporary art| Kieran’s Newsletter
And why I think Auckland’s Laneway Festival will be miserable despite its lineup being good| kieranmclean.substack.com
And two African works that I like, one Senegalese and one Nigerian| Kieran’s Newsletter
And how it reflects the truth of our grisly colonial founding| kieranmclean.substack.com
And how our small, settler economy disincentivizes being mean| kieranmclean.substack.com
And why we're dead without it| kieranmclean.substack.com
And how our settler-colonial identity makes it different than other places'| kieranmclean.substack.com
20th-century abstraction in the 21st century| kieranmclean.substack.com
And why the platform's antithetical to community sports| Kieran’s Newsletter
And why "After Yang" is a great movie about AI| kieranmclean.substack.com
And how it could get us all killed| Kieran’s Newsletter
On the 2015 interview that helped me understand Nathan Fielder| kieranmclean.substack.com
Why North American oil paintings make me homesick| kieranmclean.substack.com
On music reaching across the centuries| kieranmclean.substack.com
And how my friends have stopped moving because they want to and started moving because they have to.| kieranmclean.substack.com
And why you need to treat socializing like it's a job| kieranmclean.substack.com
Or, how I learned to turn off the Internet in my pocket.| kieranmclean.substack.com
John Berger, moodboarding, and social media profits.| kieranmclean.substack.com
