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…
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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…
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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…
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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…
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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…
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“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…
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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…
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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…
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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….
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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…
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