The Possessions of Paul Pfeiffer
When Paul Pfeiffer was ten years old, he dreamt that he was possessed by the devil. He had just moved from the tropical suburbs…
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Pacita Abad Sees the Soul of an Artifact
Pacita Abad, the Filipina artist who roamed the world like a traveling bard, was twenty-four when she left home in 1970. By the time…
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Paper Abstractions: Virginia Jaramillo’s Social Theory
Perhaps more than any other recent survey of abstract art, Virginia Jaramillo: Principle of Equivalence reframes what abstract art is and can do, politically…
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There is the Rising: Shelley Niro’s Reckoning Retrospective
When it comes to critical analysis of an Indigenous artist’s output, there is a tendency to circumscribe. We want to capture and we want…
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REDCAT’s Rediscovery of the Iconic Feminist Art Program
The Feminist Art Program (1970–1975): Cycles of Collectivity, which recently closed at REDCAT (an art center run by CalArts), could easily have been called Cycles…
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A Feeling Between the Lines: The Anxious Influence of Agnes Martin’s “Writings”
The painter Agnes Martin contemplated language with a great deal of skepticism. Though she produced an impressive body of written work, mostly compiled and…
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On the Sense of Queer Loneliness: Sacha Yanow’s “Uncle!” at The Kitchen
A lone wolf stalks the edges of Sacha Yanow’s one-person performance Uncle! that premiered at The Kitchen in New York in February. In nature,…
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Embraced by an Amniotic Earth: Delcy Morelos at Dia Chelsea
In El abrazo, Delcy Morelos’s site-specific solo exhibition at Dia Chelsea in New York, two earthworks swell against the perimeters of two discrete, darkened…
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Caroline Monnet’s Uneasy Objects
Pizandawatc / The One Who Listens / Celui qui écoute, a recent exhibition at the Art Museum at the University of Toronto (AMUT), draws…
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Can We Tune the Museum? Laurie Spiegel and Other Experiments in Spatializing Sound
“The Sound-Sweep,” a 1960 short story by J. G. Ballard, takes place in a world where normal music has been supplanted by soundless, uncontaminated…
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