How (Not) To Retrospect: Beverly Buchanan in Brooklyn and Georgia
It’s unfortunate, but not surprising, that critical attention and institutional acceptance usually arrives too late to the work of women artists and artists of…
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Real Bodies: A Tribute to Linda Nochlin
In the summer of 1994, the end of my second year at the IFA and Linda Nochlin’s first, she came to stay with my…
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Risking Pop-Solipsism, Moyra Davey Gets Earnest in Berlin
A few weeks back, as autumn arrived to Berlin, I listened to a thirty year-old curator explain that she was leaving art to study…
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Seeking a More Intimate Fair with /edition’s Paul Butler
Toronto’s /edition art-book fair arrives, in its sophomore year, at an energizing time for art publishing. The event drew over 8,000 visitors last year…
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Remnant Intuition: Contemporary Turns on the Grace of Still Life
“We reason, that is, our mind wanders, each time our courage fails to force us to pursue an intuition through all the successive stages…
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White Like Me: Encountering Divya Mehra’s “You have to tell Them, i’m not a Racist”
It doesn’t matter what you think you know about Divya Mehra’s You have to tell Them, i’m not a Racist, currently at Georgia Scherman…
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The Strangeness of the Everyday: Skulptur Projekte Münster’s Deep Grey
Not an auspicious start. I stood under the regularly irregular German rain in front of one of Skulptur Projekte’s posters, annoyed by what might…
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Do Androids Dream of Representative Art?
“The closer we come to the danger, the more brightly do the ways into the saving power begin to shine and the more questioning…
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Fake News, Bad Art
When the Oxford English Dictionary announced that its 2016 Word of the Year was post-truth, the understanding was that the political upheavals of the…
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For Common and Decent Things: Resisting Co-opted “Collaboration”
It’s more than working together. “Collaboration” has enjoyed a distinct currency in the twenty-first century as a buzzword that sailed from the open-office playgrounds…
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