Virginia Woolf: Thinking Back Through Our Mothers at the Tate
“If life has a base that it stands upon, if it is a bowl that one fills and fills and fills – then my…
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Too, Too Solid Flesh: An Interview-Collage with Judith Supine
My friends in Detroit are obsessed with list-making. They’ve all been on the hunt for personalized license plates of late, exclaiming “BB Benz” or…
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An Always Fractured Order: Hal Foster’s Unromantic Avant-Garde
There is a small historical irony in the topic of Hal Foster’s lecture for the 67th A.W. Mellon Lectures at the National Gallery of…
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The Trouble with Occupying Others: Althea Thauberger Confronts the Violence of the Archive
Gazing out from a large photograph on the second floor of Susan Hobbs Gallery in Toronto, Althea Thauberger wears a yellow dress, pearl earrings,…
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Worst-Case Scenarios: Contemporary Art’s #Metoo Handwringing
Like most grassroots movements borne of slow-simmering anger and long-standing frustration, #MeToo is both overdue and messy as hell. Its faint whiff of anarchy…
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America Meredith, Lori Blondeau, and Raven Chacon Remember James Luna (1950-2018)
March 9, 2018 America Meredith Shockwaves shot through the Native artworld with the sad news that James Luna (Pooyukitchchum-Ipai-Mexican-American) had walked on. He…
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“More Than Those Who Despised Her”: Unforgetting on the Prairies
How can – how should – the ghosts of our brutalized bodies be ushered into public space? This was the enigma posed by Gregory…
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How to Toil in Obscurity
You probably don’t need me to tell you about toil and obscurity. You don’t need me to tell you about working a double-shift waiting…
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Dubious Icons: Godheads, Messiahs, and the Artist as Celebrity
Perhaps it’s an unfair caricature of MFA students, that each appears to inhabit their own personalized reality TV show. Perhaps. But having been one…
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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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