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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Spoiled Roots: Mark Bradford and the Erasure of Community
Artists tasked with filling the US Pavilion at the Venice Biennale have often poked at its resemblance to Monticello, the plantation designed by the…
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The Personal and Political Wrestle it Out in Kara Walker’s Rebellious New Show
Before we saw the art, we saw the hype: a press release, consisting of two seemingly mismatched parts, which circulated widely and even garnered…
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Performance Art Blows Open the Prairies, in “Stages”
Midway through the rooftop opening for Stages: Drawing the Curtain – a show of public art at Winnipeg’s Plug-In Centre – I look through…
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The Five Disappearances of Tammi Campbell
One The first threatens all artists, and everyone else too: simple disregard. The viewer makes a rolling stop at each frame, not accelerating past,…
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Momus Best-Of Volume 3: 2016-17
I confess to experiencing regular doubt, lately, about what art criticism can contribute to the fray when the conversations we need to be having,…
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A Shattered Mirror: Geoffrey Farmer’s Disobedient Object in Venice
The Canadian Pavilion at the 57th Venice Biennale has been partially destroyed. Its roof has been punctured, so it seems, by some inexplicable disaster….
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