The 11th Gwangju Biennale’s Overreach: “What Does Art Do?”
By asking what art “does,” the curators of the eleventh Gwangju Biennale betray a palpable anxiety about whether the field in which we work…
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Clive Holden Grounds the Digital in Aura
I spend most of my life on the internet. I work here, I entertain myself here; I distract, delay, advance, compose, and channel myself…
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Toronto the Good, in Two Histories
Sometimes you get the history you want. Sometimes you get the history you deserve. And sometimes you get the history that’s good for you….
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The Past Imperfect of Jutta Koether
For many years, Jutta Koether drained blood and love from the color red. In her paintings, that untouchable hue became atmosphere for a genus…
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While the World Burns: The 32nd São Paulo Biennial’s Political Disregard
For the first time in the history of the São Paulo Biennial, the turnstiles disappeared. Attendees carried no tickets and sported no bracelets. The…
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Stardust Tears: Sojourner Truth Parsons’s “Crying in California”
The looping ladies and lipsticked cigarettes of Sojourner Truth Parsons’s past pictures give way here to a litter of pups amidst polychromatic explosions sopping…
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The Instagrammable Angst of Anne Imhof
The word “angst”’ in German carries a certain weight – as most German words do – that is less evident in its English appropriation:…
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Towards the Profane: Mierle Laderman Ukeles Exercises Her “Maintenance” at Queens Museum
The Queens Museum is devoting more space than it has ever given over to a single artist to survey the career of Mierle Laderman…
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Mark Ruwedel’s Desert History, as Fugitive Present
“I’ll show you fear in a handful of dust.” – T.S. Eliot, The Wasteland …
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Simone Leigh’s Powerful Meditation on Race and Healthcare Suffers, Ironically, from Lack of Access
Within intimate relationships, symptoms of passive aggression range from mild irritation to buckling torpor. When the relationship is between entire populations and corrupted institutions,…
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