The Abject Intimacies of Chris Curreri
I would like to be like water or rather like milk – completely pourable am right now more like stone but like sand or…
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Where the Bodies Go: Lili Huston-Herterich’s Poem to the Power of Community
The Pulsing Body Wants of Jasmine Reimer
Like teeth crowding a dark mouth, Jasmine Reimer’s Small Obstructions pushes crude objects up through a dusky space – and then pocks them with…
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The Portent in Exhibiting Robert Mapplethorpe: What Can He Mean to Us Now?
The Montreal Museum of Fine Arts can’t send me Robert Mapplethorpe’s most explicit and notorious photographs, despite exhibiting them. It doesn’t have the copyright…
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Sara Cwynar Prepares Herself to Turn
Sara Cwynar is just young enough to speak the mother-tongue of post-photography. Certainly her work assumes the dimensionality of an exploded medium and exercises…
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Clive Holden Grounds the Digital in Aura
I spend most of my life on the internet. I work here, I entertain myself here; I distract, delay, advance, compose, and channel myself…
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Momus Video Series: Orit Gat’s “If It Looks Like Zeitgeist, It Might be Anxiety: Art After the Internet”
On April 19, 2016, Momus presented a talk by award-winning art critic and former Momus contributing editor Orit Gat titled “If It Looks Like Zeitgeist, It Might be Anxiety: Art After…
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Interview: Paul Petro on Becoming the Legacy-Building, “Bent Identity Politics” Gallerist of Toronto
The spiritual iconographies of Paul Petro’s roster are many. Robert Flack’s seven chakras series from the 1990s; Stephen Andrews’s heaven painting, and The Apostles;…
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The Politics of Color in Kristine Moran
It’s tempting to consider Kristine Moran’s most recent work as a pivot-point in an ascendency from abstraction to figuration. Figures, indeed, are emerging from…
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“You Can’t Win It”: Jon McCurley on the Art of Facebook
I woke up this morning to find that Jon McCurley was emitting tiny wails from the “isolation chamber” of Facebook late last night, a…
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