Cameron Rowland’s Property Relations
Cameron Rowland uses the language of conceptual art to critique the art world’s imbrication in histories of slavery, redlining, and policing. In particular, Rowland’s…
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“I Don’t Go to Crisis Just Yet”: Four Painters Discuss the Rise of Figurative Painting
What’s the fuss about the new representation? A recent spate of articles and exhibitions have addressed the new representational painting – some generously, others…
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The Invention of the Humane: Ken Lum’s Collected Writings
I was planning to attend the Art Metropole launch of Everything is Relevant: Writings on Art and Life, Ken Lum’s book of his selected…
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A Crit of the Crit
Lately I’ve been thinking about how we do “crits” at art school, and how we might do them differently. The crit, or critique, is…
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Embarrassed Celebrity: Laurie Simmons’s Feature Debut
Celebrity is truly the public health crisis we deserve. I recently watched a clip of pop star Katy Perry on a Japanese game show,…
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How to Stop Working Better
1 DO ONE THING AT A TIME The story goes that the Swiss artist duo Peter Fischli & David Weiss found this list…
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Naming “Where is Here”: Ed Zelenak at Christopher Cutts
One of the pleasures of Ed Zelenak’s decades-long practice is its resistance to easy narrative. And yet, as John Bentley Mays wrote in 2015,…
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A Future Never Sought: Okwui Enwezor’s 56th Venice Biennale
Swimming for his life, a man does not see much of the country through which the river winds. – W. E. Gladstone’s diary, 1868…
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The Contemporary Erotics of Laurie Kang
Sometimes a cliché is the only way to describe an experience so fundamentally mood-inducing that it illuminates the very reason we do what we…
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The Art of Protest
The relationship between art and protest has never been a stable one. It’s also a relation that perhaps suffers from being posed in the…
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