Plant People
What is it about the threat of impending death that drives us into the arms of Mother Nature? In 2020, there was a curious…
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Losing Ground in Singapore’s State-Curated Digital Age
The Substation, a leading arts center in Singapore, announced its permanent closure in March after its thirty-year stint as an independent home for the…
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Season 5 Episode 2: Harry Dodge
In this episode, artist Harry Dodge reads from My Meteorite, or Without the Random There Can Be No New Thing (Penguin Press, 2020). Dodge, a…
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Season 5 Episode 1: Emmanuel Iduma
In the first episode of Season 5, Lauren Wetmore speaks with Nigerian art writer Emmanuel Iduma, who reads from “Mileage from Here: Nine…
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Situating Great Ocean Art in Canadian Museums
I come from the villages of Leulumoega, Siʻumu, Salelologa and Āpia in the western islands of the Sāmoan archipelago. My family also comes from…
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The Capaciousness of Blackness: An Interview with Dawit. L. Petros
Not very long ago I read Toni Morrison’s Home. This, her tenth novel, chronicles the wayward journey of a young war veteran, Frank Money,…
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Stop Guarding the Art
The Baltimore Museum of Art will open an exhibition guest-curated by 17 of the museum’s security officers next March. Titled Guarding the Art, art…
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A Love Letter in Louisville: Breonna Taylor at the Speed Museum
“It’s like fucking vaporware.” I was on the phone with Kristina, Burnaway’s editor at large in New Orleans. We had been searching for days…
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Correcting for the Bawdy Rage of Paula Rego
The New York Times review of Paula Rego’s Tate Britain retrospective, published on July 7, begins: “Paula Rego is the kind of artist who paints a…
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Cameron Rowland’s Property Relations
Cameron Rowland uses the language of conceptual art to critique the art world’s imbrication in histories of slavery, redlining, and policing. In particular, Rowland’s…
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