You Are Still Here: The Present Tense and Present Threat of Mona Hatoum
Mona Hatoum’s Grater Divide (2002) is a cheese-grater nearly seven feet high. On the one hand, it’s laugh-out-loud funny. On the other, it’s lethal. It…
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Art and Architecture’s DIY Practices and “Folk Politics”: Radical or Picking Up the Social Tab?
A young architect in Berlin recently argued to me that working with refugees on a design-build project could lend it more credibility and political…
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“Please Hold Your Questions”: A Culture of Asking Questions as Criticism and Authority
At the dinner table, my father asked the priest if he could pour him a warm Coke. The priest, a distant family relative and…
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How to Become a Curator
Develop an interest in a particular area of art, history, or science. Be detail-oriented. Volunteer at a museum or similar institution. Get your undergraduate…
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Embracing the Sāo Paulo Biennial’s Acute Uncertainty
1951. “I don’t look back. I don’t want to know. I only think about the future, and I know that it’s certain.” These words…
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“Accessibility” and the New Hoser Aesthetics
It’s autumn, in Edmonton. A crowd begins to gather outside an enclosed asphalt rink where bodies will soon be pressed against each other. It’s…
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Eeriness: Tracing an Unquiet Tradition in British Landscape Art
In 1971 Derek Jarman made a 10-minute film called Journey To Avebury, documenting a summer walk through the chalklands of southern England. At first…
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Regionalism Vs. Provincialism: Agitating Against Critical Neglect in Artworld Peripheries
In February, I sent Momus editor Sky Goodden a draft of a review of an exhibition in Alberta that I had pitched to her…
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The Ages of Mat Brown
Mat Brown is an artist whose primary concern is the immensity of time. His large drawings, rendered delicately with transparent inks on board, resemble…
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“You Can’t Win It”: Jon McCurley on the Art of Facebook
I woke up this morning to find that Jon McCurley was emitting tiny wails from the “isolation chamber” of Facebook late last night, a…
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