“Proudly Broken and Refusing to ‘Fit'”: Legacy Russell on “Glitch Feminism”
Legacy Russell doesn’t do things IRL. Throughout her writing, you’ll find instead the term “AFK” (Away From Keyboard). As the mobile internet became ubiquitous in…
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Spoiled Roots: Mark Bradford and the Erasure of Community
Artists tasked with filling the US Pavilion at the Venice Biennale have often poked at its resemblance to Monticello, the plantation designed by the…
Read MoreResidencies
Momus Arts Journalism Residency June 10 to July 25, 2024 Led by Catherine G. Wagley With faculty including Julia Halperin, Danielle Amir Jackson, Ossie…
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The Double-Bind in Raqs Media Collective’s Institutional Critique
Longing we say, because desire is full of endless distances …
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Parsing Re-Performance and Institutional Critique in the Choreography of Sasha Kleinplatz
what about doing the same piece for the rest of your life in different iterations? Chorus II as a work for children? as solo?…
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“Where Does Art Get To Live?”: A Conversation Between Anique Jordan and Michèle Pearson Clarke
On a perfect spring day in late May, I found myself huddled in a crowded gallery for an artist talk, my head leaning forward,…
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Interview: Lois Andison Talks Back to Male Modernists
Twice in the past year I’ve visited Olga Korper and she’s taken me from the gallery, past the offices, through her kitchen (where there’s…
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Dataspace: From the Observed Object to the Participating Subject
The first time I visited Laboratorio Arte Alameda (LAA), a house of creative electronic experimentation in the heart of Mexico City, I didn’t know…
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The Listening Gaze: Raymond Gervais (1946-2018)
People ask me from time to time where I got my interest in music, in musical objects and records, and why I refer to…
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That’s the Way to Do It!: The Fairy Tale Life of Ydessa Hendeles
Let’s start with the premise that Ydessa Hendeles is an artist. And why shouldn’t we? Is it the fact that she started as a…
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