Trenton Doyle Hancock Moves to Mythos at Sarasota’s Ringling Museum
The context of Trenton Doyle Hancock’s past exhibitions weighs heavily on his present. With Hancock’s epic fiction circling the creatures known as Mounds, each successive…
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A Pixelating Voice: Reading Sophia Al-Maria’s “Sisters” at the New Museum Triennial
Any visitor to the New Museum Triennial is subject to the burden of information. There’s no ignoring the walls when the walls sprout obstacles…
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After Bjork Fiasco, MoMA’s Yoko Ono Show Makes a Case for Art and Celebrity
Yoko Ono: One-Woman Show, 1960-1971 arrives at the Museum of Modern Art pre-freighted with issues of art and celebrity that have dogged the institution of…
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To Cut and To Swipe: Understanding Hito Steyerl Through “HOW NOT TO BE SEEN”
The complex work of contemporary artist, media theorist, and filmmaker Hito Steyerl often pivots on a surprisingly simple tactic – wordplay. Consistently, across both…
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Taking On “The Gaze,” and Doing Away With it, Too: Warsaw’s Elsner and Rogalski
Whenever I am asked to fill out a form that requires a description of my eye color, I have to get up, find a…
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“Feast”: Xiao Guo Hui’s Divine Tragedy
There are few films that could be said to have led to their director’s deaths; Pier Paolo Pasolini’s Salò, or The 120 Days of…
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The Whitney’s Triumphant New Museum is Worrying For Art
Today, the new Whitney Museum of American Art opens its broad gates to the masses. If New York’s museum competition were a horserace, Renzo Piano’s appealing and thoughtful…
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The Troubling Thrill of Invernomuto’s Counter-Ritual
Invernomuto is an Italian duo who bring an uneasy postcolonial funk to contemporary art, somehow managing to capture the over-the-top brio of, say, dub…
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The Suffering Body of 1993: Whatever Happened to the “Abject”
The best way to fuck something up is to give it a body. A voice is killed when it is given a body. Whenever…
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Parsing Re-Performance and Institutional Critique in the Choreography of Sasha Kleinplatz
what about doing the same piece for the rest of your life in different iterations? Chorus II as a work for children? as solo?…
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