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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Helen Molesworth Upends the Permanent Hang at MOCA LA
Ruth Asawa spent the summer of 1948 making buttermilk for her teachers, Josef and Anni Albers, in Asheville, North Carolina. She was enrolled at…
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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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The Spinning “YOLO” Sympathies of Sandra Meigs
An early critique I received as an artist was in jury feedback for an unsuccessful grant application: “why does this work need to be…
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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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How To Follow Your Own Success: Kristiina Lahde at MKG127
Six months ago, Kristiina Lahde created her own toughest act to follow. Her solo exhibition, Ultra-Parallel, held at the Koffler Centre of the Arts in…
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A Portrait of The Artist as a Young Professional: Joseph Hartman’s Artist Studios
The artist’s studio has long been a beloved subject for art, one nearing art itself. What attracts us to it? What is the quale,…
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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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