Post-Confessional: The Aging Intimacies of Sophie Calle
In advance of Missing, French conceptual artist Sophie Calle’s first major retrospective in the United States, both New York Times Magazine and the Guardian…
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How to Act Ethically in Art
Don’t fuck the curator. Or the artist, the gallerist, the writer, or their editor. Unless, of course, you really want to. And, it almost…
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Mourning Jimmie Durham
In April, I wrote a review of an exhibition at the Hammer Museum at UCLA: “Jimmie Durham: At the Center of the World.” I…
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That’s the Way to Do It!: The Fairy Tale Life of Ydessa Hendeles
Let’s start with the premise that Ydessa Hendeles is an artist. And why shouldn’t we? Is it the fact that she started as a…
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Hélio Oiticica’s Journey From Art Visionary to Coke Dealer and Back Again
Hélio Oiticica, one of the most famous figures of Brazil’s mid-century surge of experimental art, once said that his goal was to strike “a…
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The Intimate Dangers of Reading Georgia O’Keeffe Through a Blouse
Any description of the new traveling Georgia O’Keeffe exhibit Living Modern must start with a blouse. On a hanger in the middle of the…
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“Made in Germany”: Can the Artworld Have a Nation?
Like exotic flowers, international art exhibitions bloom in Berlin, Kassel, and Münster every two, five, or ten years, helping to establish Germany, alongside Venice,…
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White Space, Black Spectacle at MASS MoCA
On May 28, 2017, MASS MoCA inaugurated its new Building 6, doubling its existing gallery space and turning the 16-acre complex of abandoned, 19th-century…
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Wu Tsang, Eileen Myles, and Me: Reading Zoe Leonard’s “I Want a President”
Recent art writing has been marked by a compulsion to cast every subject against an unfolding political crisis. Press releases, reviews, and essays implore…
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“Everyone’s Heart is Full of Fire”: A Portrait of Martha Kirszenbaum, Curator
A burst of confetti from a painted cannon. A name you call across the crowd: Martha, Martha, Martha. An exasperation with her force like…
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