What is to be Learned, What is to be Done? Thomas Hirschhorn at the Remai Modern
Three months ago, I bought a CD of poetry from Johnny Marceland, a sixty-year-old Dene man who lives in my hometown of Saskatoon. Throughout…
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Think of Harald’s Position: Weighing Szeemann’s Obsessions in L.A.
Harald Szeemann organized a show called Friends and Their Friends in 1969, his last year as chief curator at the Kunsthalle Bern. Selected artists…
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New Forms for New Crises: The Need for a New Ecological Representation
In his recent polemic Against the Anthropocene, art historian T. J. Demos calls for a shift in the language we use to think through…
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Embarrassed Celebrity: Laurie Simmons’s Feature Debut
Celebrity is truly the public health crisis we deserve. I recently watched a clip of pop star Katy Perry on a Japanese game show,…
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The Trouble with Occupying Others: Althea Thauberger Confronts the Violence of the Archive
Gazing out from a large photograph on the second floor of Susan Hobbs Gallery in Toronto, Althea Thauberger wears a yellow dress, pearl earrings,…
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Painting “From Here”: Susanna Heller at Olga Korper
Whatever specificity of place can be found in Susanna Heller’s paintings at Olga Korper Gallery shimmers with Wallace Stevens’s line, “Description is revelation. It…
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Naming “Where is Here”: Ed Zelenak at Christopher Cutts
One of the pleasures of Ed Zelenak’s decades-long practice is its resistance to easy narrative. And yet, as John Bentley Mays wrote in 2015,…
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The Hopeful Phantasmagoria of “The Museum Took a Few Minutes to Collect Itself”
For the 1970 exhibition Raid the Icebox at the Rhode Island School of Design Museum, Andy Warhol pulled hidden treasures from storage. He included…
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No Measure of Health: Ilona Sagar Scans the Politics of Wellbeing
The word “health” is contaminated with sickness. It contains within it a negation: of disease, or illness. Routinely, we only begin to understand our…
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Faulty Infrastructure: New Orleans’s Triennial Can’t Commit
Nine years after the inaugural Prospect show of 2008, what can the exhibition that christened itself the United States’s only international biennial offer in…
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