Private View: Luc Tuymans on Henry Raeburn
I first saw Henry Raeburn’s work when I was 16 years old at the Museum of Fine Arts in Ghent. It was a portrait…
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A Prismatic Picture of Colombian Street Culture in Jorge Lozano’s Experimental Films
I see the use of multiple screens as a device to speed up the narrative flow in film, to conceptually give sequences (loops) momentary…
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These Are Not Ideas; These Are Things: A Conversation with Liz Magor
Liz Magor claims her “space between the mould and the cast.” It’s a pronouncement reified by thirty years of installation and sculpture that reads…
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The Future of Online Arts Publishing: A Roundtable with artnet News, Momus, and Temporary Art Review
Everything about publishing is changing, including art criticism and news. What sort of art coverage we consume, how we consume it, and on what…
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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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