A Lapidary Grief: Sheila Heti’s “Pure Colour” Dares Her Critics
Sheila Heti’s most recent novel, Pure Colour, is a dream-like, funny, soulful, hard-to-wrangle meditation on what it means to live as someone else’s creation,…
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An Ascetic Pose: Avery Singer’s New Refusal
Before I saw Avery Singer’s paintings in Reality Ender, her first solo show at Hauser & Wirth in New York, I didn’t think it…
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Plague Medicine: Reading Avocado Ibuprofen in a Pandemic
Over the last several years, Jaakko Pallasvuo’s Instagram comics (produced under the handle @avocado_ibuprofen) have become a minor phenomenon. Beloved among art world participants,…
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The Historical Invention of Gala Porras-Kim
For Los Angeles artist Gala Porras-Kim, the labels, shelving, and object tags that accompany artifacts in ethnographic museums are the stuff of site. At…
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Oliver Lee Jackson, the People’s Painter
“The Painter” moves expansively but in fits across the second side of Dogon A.D., a pendulous free jazz masterpiece self-released by Julius Hemphill in…
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Caribbean Being and Becoming in “Fragments of Epic Memory”
In his 1992 Nobel Lecture The Antilles: Fragments of Epic Memory, Derek Walcott characterized Caribbean poetry as a remaking of fragmented memory. The Art…
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The Bodies That Scramble India’s “Constitutions”
Visibly shaken professors made a special announcement at our university’s recent Race Equity Caucus meeting. They’d been harassed for participating in a virtual conference…
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The Anxious Nostalgia of Steven Shearer
There is a variety of rose called “Nostalgia” that is white on the inside and trimmed in red. The nostalgia rose is not a great metaphor for nostalgia itself, which is…
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Seeking Specificity in Postcommodity
To be given the opportunity to travel for the sake of art, even if it’s from one small dusty Prairie city to another, is…
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Don’t Look Back: Renée Green’s Present Tense
Renée Green’s latest exhibition Inevitable Distances unfolds across two locations, the KW Institute of Contemporary Art and the daadgalerie, both of which bill the…
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