White Like Me: Encountering Divya Mehra’s “You have to tell Them, i’m not a Racist”
It doesn’t matter what you think you know about Divya Mehra’s You have to tell Them, i’m not a Racist, currently at Georgia Scherman…
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The Strangeness of the Everyday: Skulptur Projekte Münster’s Deep Grey
Not an auspicious start. I stood under the regularly irregular German rain in front of one of Skulptur Projekte’s posters, annoyed by what might…
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Do Androids Dream of Representative Art?
“The closer we come to the danger, the more brightly do the ways into the saving power begin to shine and the more questioning…
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Fake News, Bad Art
When the Oxford English Dictionary announced that its 2016 Word of the Year was post-truth, the understanding was that the political upheavals of the…
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The Personal and Political Wrestle it Out in Kara Walker’s Rebellious New Show
Before we saw the art, we saw the hype: a press release, consisting of two seemingly mismatched parts, which circulated widely and even garnered…
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Performance Art Blows Open the Prairies, in “Stages”
Midway through the rooftop opening for Stages: Drawing the Curtain – a show of public art at Winnipeg’s Plug-In Centre – I look through…
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The Five Disappearances of Tammi Campbell
One The first threatens all artists, and everyone else too: simple disregard. The viewer makes a rolling stop at each frame, not accelerating past,…
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A Shattered Mirror: Geoffrey Farmer’s Disobedient Object in Venice
The Canadian Pavilion at the 57th Venice Biennale has been partially destroyed. Its roof has been punctured, so it seems, by some inexplicable disaster….
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Place, Space, or Backdrop: The Dilemma of Desert X, the “Coachella Biennial”
Against this summer’s alignment of Documenta 14, the Venice Biennale, and Skulptur Projekte Münster, the first edition of the Desert X biennial seemed to…
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Post-Confessional: The Aging Intimacies of Sophie Calle
In advance of Missing, French conceptual artist Sophie Calle’s first major retrospective in the United States, both New York Times Magazine and the Guardian…
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