Chantal Pontbriand Will Not Curate Your Biennial: On “Demo-Graphics,” and Its Potential to Reignite Toronto
There is a bracing moment at the end of my interview with Chantal Pontbriand in early July, where, just as I’m about to leave,…
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What Is an Art Critic Doing at an Art Fair?
In May I was part of a panel at NADA. It wasn’t about criticism but someone asked me why I write reviews of art…
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Interview: Curator Christopher Eamon Troubles the Shifting Form (and Relevance) of Photography
Early in its trajectory, independent curator and writer Christopher Eamon distinguished himself in the field of moving-image media and photography, and asserted its knock-kneed…
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Seeing Red: Understanding Kazuo Shiraga’s Sudden Fame
In recent years, the reputation of postwar abstract painter Kazuo Shiraga (1924-2008) – known for turbulent, crimson paintings made with his feet – has…
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Year in Review: The Women Represented
To cast back and select my favorite art this year requires a mnemonic leap of faith. I’d hope the ‘best’ exhibitions, pieces, and events…
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Kill the Expert: An Interview with Brian Droitcour
The word “post-internet” is a useful, if maybe not quite necessary, evil. First attributed to the writing of artist Marisa Olson, the term has…
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Mourning Jimmie Durham
In April, I wrote a review of an exhibition at the Hammer Museum at UCLA: “Jimmie Durham: At the Center of the World.” I…
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In the Skin of a Gallery: Sylvie Bélanger’s Challenge to Photography
The image disputes the presence of the thing. In the image, the thing is not content simply to be; the image shows that the…
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A Rebuke to the Perceived “Crisis in Criticism”: Social Media and the Liberated Reader
In 2012, Frieze surveyed art critics writing for newspapers, magazines, and online publications, asking how they conceived of their connection with the public. None…
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Daddy Says: Ed Ruscha in Other Words
Ed Ruscha is a great American art daddy, such that he has been called “the deadpan laureate of American art,” “the great American Pop…
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