Playing the Double Agent: Kathleen Ritter’s “Camoufleurs”
Kathleen Ritter is an artist. This may come as a surprise to some who knew her better as associate curator at the Vancouver Art…
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Translation & Transcription: A Conversation with Shelagh Keeley
The narrow central clerestory of The Power Plant in Toronto rises from the main floor up between its east and west gallery zones. It…
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Identity After the Internet: Three Berlin Exhibitions in Search of Commonality
Does anyone write diaries any more? Does anyone learn about themselves through reflexive engagement with their own written word? Or do we form conceptions…
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Women and Influence and the Other Things He Got Wrong: A Rebuttal To Brad Phillips
At a time when so many critics are perfunctorily setting about their annual “best-of” surveys, Brad Phillips published a 3,000-word article that carried the…
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After Ferguson, A New Protest Culture’s Challenge to Art
Walter Benjamin has a line about the Angel of History who sees the past as “one single catastrophe, which unceasingly piles rubble on top of rubble and…
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Douglas Gordon at the Armory Is All Flash and No Follow-Through
The idea sounds perfectly Gatsby-esque. Build a massive pool inside the 55,000 square foot Wade Thompson Drill Hall of the Park Avenue Armory, fill…
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Tadej Pogačar’s Persistent Perversion of Institutional Critique
Tadej Pogačar is a Slovenian artist who has been making work for over thirty years. For much of that period he has operated under…
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A Rebuke to the Perceived “Crisis in Criticism”: Social Media and the Liberated Reader
In 2012, Frieze surveyed art critics writing for newspapers, magazines, and online publications, asking how they conceived of their connection with the public. None…
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Criticism Project Altered Twice: A Dual Response to Xavier Le Roy’s Retrospective
I wanted to make “the fourth wall” no longer a mirror, but a membrane that makes the spectator aware of this coming and going…
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A Ghostly Form: Scrap Metal Embraces Presence, Absence, and the Space Between
Emerging curator Rui Amaral is troubling the third rail of contemporary art. He’s been fingering the margins of what’s visible, the all-important link to…
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