Picturing Nothing: Reading the Drawings of Sophie Jodoin Through the Words of Samuel Beckett
Four square all light sheer white blank planes all gone from mind. Never was but grey air timeless no sound figment the passing light….
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On Jurassic World’s Blockbusting Fear of Art
It’s easy to ignore pop culture’s messages. Too easy. Popular culture delivers its ideas and manifestos with such ham-fisted, careless presentation that the first…
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On Kawara’s “I Am Still Alive” Twitter Presence: An Anomaly in Post-Internet Art
The most grievous problem with post-internet art has been its nebulousness. If, as Saelan Twerdy recently claimed in Momus, post-internet art may have reached…
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#Longform and #Longreads Journalism: Its Reality and Potential
Amazon’s recent announcement that it will begin paying authors who self-publish on the retailer’s various Kindle platforms according to the number of pages users…
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Mary Heilmann and David Reed’s “Two By Two” at the Hamburger Bahnhof Floats Towards Americana
Once a train station, Berlin’s Hamburger Bahnhof museum now facilitates transportive experiences. There in a large hall, forty-five paintings currently hang in pairs, one…
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Perfect Bedfellows: Tracey Emin on Francis Bacon
One of Tracey Emin ’s best known and most controversial works, My Bed, first made in 1998, and once in private hands, is now on…
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How To See a Sunset
First you pass through a canyon of glass bank towers, hugging the 110 on either side, concrete overpasses and underpasses, off-ramps and onramps, exits…
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Chantal Pontbriand Will Not Curate Your Biennial: On “Demo-Graphics,” and Its Potential to Reignite Toronto
There is a bracing moment at the end of my interview with Chantal Pontbriand in early July, where, just as I’m about to leave,…
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This Is Where It Ends: The Denouement of Post-Internet Art in Jon Rafman’s Deep Web
In a recent essay for Artforum, Jon Rafman described his early work as “romantic.” Specifically, he cited his virtual safaris of Kool-Aid Man in…
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Simon Denny’s Trade Show Overkill at MoMA PS1
I’d always thought of the word “disruptive” as a negative term before immersing myself in Simon Denny’s quasi-retrospective at MoMA PS1. The exhibition takes…
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