The Abject Intimacies of Chris Curreri
I would like to be like water or rather like milk – completely pourable am right now more like stone but like sand or…
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Where the Bodies Go: Lili Huston-Herterich’s Poem to the Power of Community
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What Is an Art Fair Doing Asking “What Is To Be Done?”
Tented within Manhattan’s industrial piers, and under a cold sweep of wind, the Armory Art Fair rounded out its latest edition (under new director,…
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The Pulsing Body Wants of Jasmine Reimer
Like teeth crowding a dark mouth, Jasmine Reimer’s Small Obstructions pushes crude objects up through a dusky space – and then pocks them with…
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The Portent in Exhibiting Robert Mapplethorpe: What Can He Mean to Us Now?
The Montreal Museum of Fine Arts can’t send me Robert Mapplethorpe’s most explicit and notorious photographs, despite exhibiting them. It doesn’t have the copyright…
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Grieving in L.A.
My first trip to Los Angeles started ten days after an election that diminished our assurance in something like a common good. I booked…
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Sara Cwynar Prepares Herself to Turn
Sara Cwynar is just young enough to speak the mother-tongue of post-photography. Certainly her work assumes the dimensionality of an exploded medium and exercises…
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Clive Holden Grounds the Digital in Aura
I spend most of my life on the internet. I work here, I entertain myself here; I distract, delay, advance, compose, and channel myself…
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Mark Ruwedel’s Desert History, as Fugitive Present
“I’ll show you fear in a handful of dust.” – T.S. Eliot, The Wasteland …
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Interview: Paul Petro on Becoming the Legacy-Building, “Bent Identity Politics” Gallerist of Toronto
The spiritual iconographies of Paul Petro’s roster are many. Robert Flack’s seven chakras series from the 1990s; Stephen Andrews’s heaven painting, and The Apostles;…
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