The Instagrammable Angst of Anne Imhof
The word “angst”’ in German carries a certain weight – as most German words do – that is less evident in its English appropriation:…
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An Elegy for Annie Pootoogook (1969–2016)
Annie Pootoogook was from the Arctic near the North Pole. Her community is called Kinngait in Inuktitut – the language of Inuit people – and…
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The Ellipses of Eva Hesse: Reading Her Collected Diaries
Eva Hesse’s collected diaries begin at the end. In the book’s last sentence, editor Barry Rosen thanks Hesse’s friend Gioia Timpanelli for discovering the…
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Wifredo Lam: The Albissola Years
It was his spirit of collaboration and friendship that first brought my father to the Italian coastal town of Albissola, just west of Genoa….
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Towards the Profane: Mierle Laderman Ukeles Exercises Her “Maintenance” at Queens Museum
The Queens Museum is devoting more space than it has ever given over to a single artist to survey the career of Mierle Laderman…
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Mark Ruwedel’s Desert History, as Fugitive Present
“I’ll show you fear in a handful of dust.” – T.S. Eliot, The Wasteland …
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Simone Leigh’s Powerful Meditation on Race and Healthcare Suffers, Ironically, from Lack of Access
Within intimate relationships, symptoms of passive aggression range from mild irritation to buckling torpor. When the relationship is between entire populations and corrupted institutions,…
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Ajay Kurian’s Futures Long Since Passed
If we are to believe artist Hito Steyerl, then ours is an age of planetary civil war. With conflict distributed across the globe, there’s…
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“Embarrassment is a Challenge”: The Queasy Vulnerability of Maria Lassnig
In 1972 a curious awards ceremony took place in the cramped Manhattan studio of Austrian painter Maria Lassnig. Tired of being ignored as an…
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Momus Best-Of: Vol. 2 2015-16
As we near our two-year anniversary, and summer draws to a close, Momus takes a moment to reflect on the last twelve months of…
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