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…
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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…
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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…
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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…
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From Cinematic to Static: Isa Genzken’s 75/75 Retrospective in Berlin
Why is time rarely foregrounded in our experience of sculpture? Isa Genzken intends her works to function more like “moving images than as sculptures,…
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Fought Through Women’s Bodies: Mona Hatoum’s Early Performances
The first image is a close-up of a breathing, or perhaps pulsing, scarlet blob. Only when the camera zooms out do we see these…
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Claire Morgan’s “Dead Weight” in Paris
A pale woman clutches a dead fox to her bosom, her hold on its lifeless pelt somewhere between a cuddle and a throttle. Her…
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A Goodbye to Former Selves: Uncategorizing Sonja Ahlers
My favorite page in Rabbit-Hole, the latest bookwork by Sonja Ahlers, contains only one image and one line of text. The image is a…
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Christina Sharpe’s Perpetual Present
Free from an autobiographical or narrative format that would encourage an epic spun out from a punctum, Christina Sharpe’s newest book, Ordinary Notes, casts…
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We’re Alive, Pablo Is Dead
Pablo Picasso is so famous and so ubiquitous and so dead that he is easy not to think about at all. It’s as though…
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