She Was Paying Attention: Remembering Alexis Smith
Satisfaction (2000) by the artist Alexis Smith is a collage that features a shabby reproduction of Hokusai’s The Great Wave placed within a glitzy…
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Do You Believe in Aliens?: Re-Indigenizing the Algorithmic Tropes of Intelligence
I was once teleported to Chapada dos Veadeiros (Plateau of the Deer Protectors) National Park in the southwestern region of the state of Goiás…
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Our Visuality: Abortion Care Work and Photography
What is the visuality of abortion care? Though I am writing this text for a publication based in Los Angeles—once my home for many…
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Abstraction, Legibility, and Desire in the Work of Brenda Draney
Sawridge First Nation artist Brenda Draney paints open-ended memories, what might have been or should have been or could have been otherwise. Her solo…
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Magical/Market Thinking: Reflecting on the Rise and Fall of Artscape
On August 29, 2023, the Globe and Mail published an article headlined “Toronto’s cash-strapped Artscape to enter receivership, end management of 14 artist facilities.”…
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When Feminisms and Futurisms Collide: Judy Chicago and Puppies Puppies at New Museum
What does an art practice that contends with feminism look like? In what ways can such a practice foreclose a confrontation with the complexities…
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They Made Him Gray: The Whitney Museum Dims Artist and Mystic Harry Smith
When you first walk into Fragments of a Faith Forgotten: The Art of Harry Smith at the Whitney Museum, you’re greeted by Andy Warhol’s…
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Through the Looking Glass: Distortion and the Fantasy of a Feminist Nude
Rarely do I find a work of art as disturbing as Louise Bonnet’s innocuously titled painting Figure Holding an Orange (2023). This thirty-square-foot oil-on-linen…
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Forms of Echo: Sónia Vaz Borges & Filipa César Draw from a Sense-Memory Educational Legacy
Decolonization involves destruction and upheaval, but in equal measures is a process of creation—a radical world-building that imparts not only a political but cultural…
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From Cinematic to Static: Isa Genzken’s 75/75 Retrospective in Berlin
Why is time rarely foregrounded in our experience of sculpture? Isa Genzken intends her works to function more like “moving images than as sculptures,…
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