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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“I Wanted to Find a Way to Respond”: Artist Ben Quilty on Working with Refugees
How do you conceive of the human cost of the largest refugee crisis since World War II? Though images of the overcrowded boats crossing…
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Interview: Allison Hrabluik on the Unscripted Magic of “The Splits”
Studying the human body in movement is a constant in Allison Hrabluik’s work. Starting first with hand-drawn animations, then making more abstract films derived…
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How To Be an Unprofessional Artist
No one likes being called an amateur, a dilettante, a dabbler. “Unprofessional” is an easy insult. The professional always makes the right moves, knows…
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Hold Still: A History of Performing for the Camera from Nadar to the Selfie
The most famous performance photograph of all time must be the one known as Saut dans le vide (Leap into the Void), showing the…
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