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…
Remembering Katharine Mulherin
Katharine Mulherin, a beloved member and leader of the Toronto art community, has left us much too soon. As we begin the hard work…
Firing Blanks: Hito Steyerl and the Voiding of Research Art
We’ve all heard the statistics. That in America, there is a mass shooting every day, that one hundred Americans die from gun violence daily,…
Where Do We Go From Here? Dubious Wealth and Ethical Funding
In the popular imagination, calling someone a “modern Medici” is a synonym for “visionary patron of the arts.” That association itself shows how much…
Episode 11: “What Makes Great Art?” with Jinn Bronwen Lee
As we continue our season-long exploration of “What makes great art?”, Sky Goodden sat down with Jinn Bronwen Lee, an artist based in Chicago….
The Totemic Quotidian in Roula Partheniou
At a time when contemporary art production is dominated by forces outside its control, pulling and pushing against commercial and cultural contexts; when media…
Can a Lobby Be Subversive? Jenny Holzer’s Comcast Capitulation
At 60 stories and 1,121 feet, the new Comcast Technology Center is the tallest building in Philadelphia, a glaringly optimistic slice of the city’s…
Free Your Mind, or Else: “Acid Communism” and Contemporary Art’s Futurism
Along with the blog posts, articles, reviews, and interviews collected in K-Punk, last year’s voluminous anthology of writings by the late British cultural theorist…
“I’m Staying Away From Trump as Subject Matter”: Howardena Pindell On Refusal and Evolution
The American artist Howardena Pindell arrived in London for her first solo show in the UK just as the 45th US President landed for…
The Faces That You Meet: Huma Bhabha’s Close Encounters
The works of Huma Bhabha affect a strange pareidolia: they lure, and then repel, dissipating the familiarity they promise. The Karachi-born artist mines the…
From a Cabin in the Woods: Dieter Roelstraete’s “HUTOPIA” and the Shelters of Thought
I harbor fantasies of retreating for stretches of time to a simple cabin in the countryside. My place, spare but tasteful, would feature a…