Niela Orr
Niela Orr is a culture writer and editor who has published in The Baffler, The Believer, and The Organist, among others. Since 2022 she…
Kelly Lycan’s Objects in Waiting
Kelly Lycan is a photo-based installation artist who pulls apart our expectations of the photograph. Like a back door or a sprung leak, her…
Spaces of Doubt: Ursula Biemann at MUAC
Ursula Biemann has been challenging, and excavating, how knowledge is produced for thirty years now, but in the past decade she has turned her…
Dempsey Bob is Waking Up
A camera pans down slowly, following the progression of a fast-flowing waterfall in the Pacific Northwest. The first minute of A Wolf’s Way: Dempsey…
Joshua Schwebel
Joshua Schwebel speaks to long-time collaborator Lauren Wetmore about their shared interest in closing the gap between how art is discursively framed and what it…
Divya Mehra, Stirring and Whirring Colonialism’s Ghosts
The whirring motor sound emanates from an unusual contraption. A linear aluminum-rail system is attached to the wall, a vertical glint of silver adrift…
On Not Lasting: Diaries, Loss, and the Art of Eva Hesse
The German American artist Eva Hesse kept meticulous diaries throughout the late sixties and seventies that account for both her personal and professional anxieties,…
Unplugged Games: Poetry as Resistance in Yanko González Cangas
Did you ever cheat on a test when you were in school? I didn’t. I was afraid of getting caught and lacked the ingenuity…
Invasion from Mars: On the Charged Personae of Shelly Mars
Shelly Mars has always been interested in what we should not talk about, and as a result, she has for the past forty years…
Carolina A. Miranda
Carolina A. Miranda, a longtime L.A. Times staff culture writer who has recently returned to the wilds of freelance, speaks to Sky Goodden about…
Daddy Says: Ed Ruscha in Other Words
Ed Ruscha is a great American art daddy, such that he has been called “the deadpan laureate of American art,” “the great American Pop…
Sidestepping Violence: The German Pavilion’s Failure to See the Present in the Past
At first glance, the earth spilling out from behind the tall, squared columns of the German pavilion’s facade appears to be a pile of…
Peter Hujar’s Still Life in Motion
There is a photograph installed near the end of Peter Hujar: Rialto at New York’s Ukrainian Museum that still holds my attention. It is…
Fargo Nissim Tbakhi
Palestinian-American artist and writer Fargo Nissim Tbakhi speaks with Lauren Wetmore about the political implication of form through two texts: Tbakhi’s own piece “Notes…
Reviewing the Reviews: The 2024 Whitney Biennial
As the longest-running institutional survey of contemporary American art, the Whitney Biennial never fails to create “discourse.” Each iteration makes a claim about the…
Paul Chan’s “Breathers” Turns Away
Paul Chan’s exhibition Breathers, now at the Contemporary Art Museum St. Louis after traveling from Minneapolis’s Walker Art Center, plays with ideas of rest,…