The Listening Gaze: Raymond Gervais (1946-2018)
People ask me from time to time where I got my interest in music, in musical objects and records, and why I refer to…
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From Artworld Punchline to Real-World Parable: Ruben Östlund’s “The Square”
The degree to which contemporary culture understands (or fails to understand) “The Art World” can be measured in how it gets portrayed in film…
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“Seen Anything Good?” The Burden of Biennial Excess
How much art can the human mind realistically absorb from a mega-exhibition? I’m not talking about superstar retrospectives or major surveys – mainstays of…
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“Speaking from a Wound”: Jesse Darling on Faith, Crisis, and Refusal
Over the past year, I’ve had considerable difficulty maintaining my faith in art. In the short version of this introduction to an interview, I…
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Darkling Futures and Desert Hangover at the New SITE Sante Fe
Two brand-new, chunky metal triangles jut out and join above the glassy entrance of the black cinderblock edifice that houses the recently-renovated SITE Santa…
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Against Tidy Memory: Anti-Fascist Memorials and the Horror of Kitsch
Like a catchy Schlager tune, rightwing populism in Germany has matured into a countrywide plague. Historical guilt, which had until recently stalled the nationalism…
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Privilege as Political Tool: Tania Bruguera on the Usefulness of Art
Because the question of art’s utility isn’t new, Tania Bruguera, the Cuban artist who’s often been referred to as a “dissident” and “political activist,”…
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Real Bodies: A Tribute to Linda Nochlin
In the summer of 1994, the end of my second year at the IFA and Linda Nochlin’s first, she came to stay with my…
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Seeking a More Intimate Fair with /edition’s Paul Butler
Toronto’s /edition art-book fair arrives, in its sophomore year, at an energizing time for art publishing. The event drew over 8,000 visitors last year…
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Fake News, Bad Art
When the Oxford English Dictionary announced that its 2016 Word of the Year was post-truth, the understanding was that the political upheavals of the…
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