Momus: The Podcast

This month, Sky Goodden speaks with Rahel Aima, a prolific critic, art writer, and Associate Editor at Momus. We focus on a text Aima published in Momus, “Depleting Felix Gonzales-Torres” (July 2020), that takes aim at “a mammoth exhibition” of the late Gonzalez-Torres’s 1990 work Untitled (Fortune Cookie Corner). Aima writes “In a move taken right out of the influencer marketing playbook,” Andrea Rosen and David Zwirner, who co-represent his estate, shipped the piece around the world to collectors who would then display and “document them for the ‘gram.” While Gonzales-Torres’s work conjures a body through accumulation and depletion, “we can understand the exhibition as an extension of overwhelmingly white, moneyed arts professionals and their tendency to trivialize Black and Indigenous death by trying to relate it to the art world.” Aima engages us in a gripping conversation about writing, including the discomfort of penning a polemic that goes viral.

In this episode Lauren Wetmore speaks with writer and organizer Dana Kopel about her widely-read article “Against Artspolitation: Unionizing the New Museum,” published in September 2021 by The Baffler. In conversation, Kopel expands on “the personal and messy dimensions” of unionizing work, and reflects on the challenges of calling out the exploitation, abuses, and hypocrisies of an art industry that, at the time, she was actively working in. She doesn’t hold back on the sacrifices made or the consequences suffered as a result of this successful union drive, but she also stresses that there is never a sole author. Kopel offers emotional and practical resources for organizing work but also acknowledges that “the fight really doesn’t end … the end point is the end of capitalism, the end of institutions, and abolition. And until we get there, this is just what we keep doing every fucking day.”

In this episode, artist Harry Dodge reads from My Meteorite, or Without the Random There Can Be No New Thing (Penguin Press, 2020). Dodge, a sculptor, writes from inside the artist’s life and the sometimes inchoate density of a studio practice. Tracking us through cosmic patterns and material grapplings as they intersect with family, work, and grief, Dodge’s first book gives us a genre-defying memoir that succeeds as art writing.

Harry Dodge is an American visual artist and writer. He was the recipient of a Guggenheim Fellowship in 2017, and his sculpture, drawing, and video work has been exhibited at many venues nationally and internationally, including JOAN (LA, 2018),  Tufts University Art Gallery (2019), Grand Army Collective (Brookyn, 2017), and the Armory Center for the Arts, Pasadena (2016). His first book, My Meteorite, was published by Penguin Press in 2020.