Fantastic Emissions: Mika Rottenberg’s Labor of Mystification
“Once in a while it happens that I vomit up a bunny,” confesses the narrator of Julio Cortázar’s “Letter to a Young Lady in…
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The Tautological Reeling of Young & Giroux
“When a point becomes movement and line, it takes up time. Similarly, when a line pulls itself out into a plane. And the same…
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The Eerie Optimization of “Self-Care” Decor
Amid the panicked anticipation of an “automation revolution” in the workforce, some of the safest labor sectors remain those dominated by women workers. Perhaps…
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The Orgasmic Capacity of Color: Judy Chicago’s Los Angeles
Throughout this period I was also discovering that I was multi-orgasmic … I was developing color systems which made forms turn, dissolve, open, close,…
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The Thread of the Weave: Meaning from Material at Oakville Galleries
In an era of unprecedented political and ecological crisis, what does it mean for the public when the exhibitionary complex turns its gaze away…
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Love and Loneliness: Queering Modernisms in Figurative Painting
I work on 22nd Street in the Chelsea gallery district of Manhattan, so it was easy to notice the painting. Louis Fratino’s I keep…
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Wire and String: Olga Balema’s Sinewy Abjection
What does it mean when the most meaningful thing is damn near nothing at all? Not the antiseptic nothing of Marie Kondo’s puritan minimalism,…
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Firing Blanks: Hito Steyerl and the Voiding of Research Art
We’ve all heard the statistics. That in America, there is a mass shooting every day, that one hundred Americans die from gun violence daily,…
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The Totemic Quotidian in Roula Partheniou
At a time when contemporary art production is dominated by forces outside its control, pulling and pushing against commercial and cultural contexts; when media…
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Can a Lobby Be Subversive? Jenny Holzer’s Comcast Capitulation
At 60 stories and 1,121 feet, the new Comcast Technology Center is the tallest building in Philadelphia, a glaringly optimistic slice of the city’s…
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