Post-Crisis: What’s Next for Art Criticism in a Digital Age
Momus was founded a short time ago. It was initiated as a proposed recovery from a confused and defensive (and, so I thought, largely…
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The Exit Interview: Matthew Teitelbaum
June 26, 2015 marks Matthew Teitelbaum’s last day as the director and CEO of the Art Gallery of Ontario (AGO). His departure caps 22 years…
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Sheila Heti Interviews John Currin on the Fun, Beautiful Things
I met with John Currin a couple of years ago. He was finishing up a series of paintings sourced in porn images from 1970s…
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A Rebuttal, Not a Conversation: Discussing Ombaasin’s AGO Intervention, “Land Rights Now”
Walking the AGO’s latest exhibition Picturing the Americas: Landscapes from Tierra del Fuego to the Arctic with Wanda Nanibush, an Anishnawbe-kwe artist, consultant, and…
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VSVSVS at Mercer Union: A White-Cube Compromise
The frisky Toronto collective VSVSVS – a collective of emerging artists, most of whom are connected to Guelph University, and many of whom share…
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Interview: Tacita Dean
Twice in the course of a thirty-minute interview with Tacita Dean, her eyes move across the room and narrow-in on the media coordinator, who…
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What Is an Art Critic Doing at an Art Fair?
In May I was part of a panel at NADA. It wasn’t about criticism but someone asked me why I write reviews of art…
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Interview: Rashaad Newsome on Voguing, Heraldry, and FKA Twigs
New York-based Rashaad Newsome has many credits to his name, among them “King of Arms” (he is a master in the centuries-old art of…
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Paul P. on Two Works by Stephen Andrews
There have been many works of art made by artists about September 11th; countless artworks attempting to make sense of, or commemorate, the geopolitical…
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Wayne Baerwaldt on ACAD’s Dissolution of His Director/Curator Position: “It’s an Issue of Public Trust”
A recent scuttling on social-media signaled a disturbance was underfoot at Alberta College of Art + Design (ACAD), where the well-reputed Illingworth Kerr Gallery…
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