The Future Wandering of Tau Lewis
A conversation with Tau Lewis is an exercise in looking back as much as in looking forward. In discussing her figurative sculptures, she circles…
The Tautological Reeling of Young & Giroux
“When a point becomes movement and line, it takes up time. Similarly, when a line pulls itself out into a plane. And the same…
The Eerie Optimization of “Self-Care” Decor
Amid the panicked anticipation of an “automation revolution” in the workforce, some of the safest labor sectors remain those dominated by women workers. Perhaps…
The Orgasmic Capacity of Color: Judy Chicago’s Los Angeles
Throughout this period I was also discovering that I was multi-orgasmic … I was developing color systems which made forms turn, dissolve, open, close,…
Context, Tokenism, and Trans Solidarity: An Interview with Dan Cardinal McCartney
In September 2018, word traveled of accusations of trans censorship by a Mohkinstsis (Calgarian) arts facility. The allegedly-censored video work in question, A Thousand…
Episode 13: “What Makes Great Art?” with Francis McKee
For this month’s episode, still circling the question “what makes great art?”, Lauren Wetmore enters into a searching conversation with Irish curator and…
The Thread of the Weave: Meaning from Material at Oakville Galleries
In an era of unprecedented political and ecological crisis, what does it mean for the public when the exhibitionary complex turns its gaze away…
Art and Labor: Writers Bloc
It was an ordinary Friday evening in September, perhaps already giving way to Saturday morning bleariness, when I turned to my partner half asleep and…
A Crit of the Crit
Lately I’ve been thinking about how we do “crits” at art school, and how we might do them differently. The crit, or critique, is…
Learning as Supporting: Alternatives for Futures in Art Education
Artist Eliza Swann moved to Los Angeles in 2013, after the spirit of a raven told her, head west. Swann had been in the…
Notes on a Crisis in Beauty
1. “I do not mourn for what I have lost. For if there is one new art that we have had to learn, those…
Episode 12: “What Makes Great Art?” with Katerina Gregos
Continuing with our pursuit of the question “What makes great art?”, Lauren Wetmore sits down with Greek art historian, curator, and writer Katerina…
Love and Loneliness: Queering Modernisms in Figurative Painting
I work on 22nd Street in the Chelsea gallery district of Manhattan, so it was easy to notice the painting. Louis Fratino’s I keep…
How Protest Works Now: Understanding “The Tear Gas Biennial” and its Historic Effect
In the pantheon of texts about art, there are very, very few that have had the impact of “The Tear Gas Biennial.” Published online…
Wire and String: Olga Balema’s Sinewy Abjection
What does it mean when the most meaningful thing is damn near nothing at all? Not the antiseptic nothing of Marie Kondo’s puritan minimalism,…
“We Need More Voices”: Introducing the Momus Emerging Critics Residency
In late August 2019, Momus will be launching its inaugural Momus Emerging Critics Residency, in collaboration with Montreal’s Concordia University. We’re incredibly excited to…