How to Read an Art Magazine
Most people don’t. Picture in your head an issue of the most important art magazine in the world: its circulation is less than the…
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Why We Photograph
For reasons good, and some of little consequence, and a few terrible, indeed shattering, I’ve been to more cities in the last year than…
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Public Art Has to Be Art First and Public Second: A Conversation with Stuart Reid on Union Station
Toronto recently saw Union Station’s protracted and over-budget revitalization project achieve one of its first clear signs of completion, an expansive public art installation…
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Our Mutual Desire for Critical Change: Momus and Feature Art Fair
In Venice, last spring, over the requisite Spritz, I met with the London and New York-based critic Orit Gat to discuss the possibility of…
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Interview: The Compressed Violence of Dana Schutz
When I meet Dana Schutz amidst the clash and clatter of the installation of her solo mid-career survey at the Musée d’art contemporain de…
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Interview: Kalup Linzy In Between Acting and Performing
Commenting on a creative relationship that was at the beginning of its end, a 2011 New York Times article quoted Hyperallergic editor-in-chief Hrag Vartanian…
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Robert Rauschenberg and Rachel Harrison Mirror Media and More Across Time
In 1970, a powerful bomb detonated Rodin’s Thinker (1880-81) outside the Cleveland Museum of Art. This edition of the sculpture was a rare version of the existing 25…
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What is the Museum of the Future?
We know that museums the world over are incredibly popular, but how do we keep the visitors coming? In a globalized art economy, the question…
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Interview: Lois Andison Talks Back to Male Modernists
Twice in the past year I’ve visited Olga Korper and she’s taken me from the gallery, past the offices, through her kitchen (where there’s…
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Contemporary Art Writing in Mexico: The Intractable and Necessary Issue of Corruption
“Hablar de corrupcion es tocar a Mexico en el corazón,” my mentor said. “Be careful.” Tocar. Transitive verb meaning: to touch, to feel, to…
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