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…
Read MoreReviews
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…
Read More
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,…
Read More
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…
Read More
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…
Read More
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…
Read More
Abstraction, Legibility, and Desire in the Work of Brenda Draney
Sawridge First Nation artist Brenda Draney paints open-ended memories, what might have been or should have been or could have been otherwise. Her solo…
Read More
When Feminisms and Futurisms Collide: Judy Chicago and Puppies Puppies at New Museum
What does an art practice that contends with feminism look like? In what ways can such a practice foreclose a confrontation with the complexities…
Read More
They Made Him Gray: The Whitney Museum Dims Artist and Mystic Harry Smith
When you first walk into Fragments of a Faith Forgotten: The Art of Harry Smith at the Whitney Museum, you’re greeted by Andy Warhol’s…
Read More
Through the Looking Glass: Distortion and the Fantasy of a Feminist Nude
Rarely do I find a work of art as disturbing as Louise Bonnet’s innocuously titled painting Figure Holding an Orange (2023). This thirty-square-foot oil-on-linen…
Read More