Blood and Paper: Zarina and the Currencies of Violence in India
This past winter was a tumultuous one for India. Braving police brutality and state repression, protests raged against draconian anti-Muslim legislation and a forthcoming…
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Episode 19: “What’s Changed, and What Should?” with Johanna Fateman
For this episode, Sky Goodden spoke with art writer and musician Johanna Fateman, a regular contributor to The New Yorker, a contributing editor…
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Love and Loneliness: Queering Modernisms in Figurative Painting
I work on 22nd Street in the Chelsea gallery district of Manhattan, so it was easy to notice the painting. Louis Fratino’s I keep…
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How Protest Works Now: Understanding “The Tear Gas Biennial” and its Historic Effect
In the pantheon of texts about art, there are very, very few that have had the impact of “The Tear Gas Biennial.” Published online…
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How to Make Art History
Right now, in some small room, art history is being made. The notion is a carved chunk of marble, a brass plaque, the halls…
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Place, Space, or Backdrop: The Dilemma of Desert X, the “Coachella Biennial”
Against this summer’s alignment of Documenta 14, the Venice Biennale, and Skulptur Projekte Münster, the first edition of the Desert X biennial seemed to…
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The Most Important Art Essays of the Year
This time last year, my editor asked me to put together a list of the most important essays of 2014, and I drew a blank….
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The Future of Online Arts Publishing: A Roundtable with artnet News, Momus, and Temporary Art Review
Everything about publishing is changing, including art criticism and news. What sort of art coverage we consume, how we consume it, and on what…
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How to Read an Art Magazine
Most people don’t. Picture in your head an issue of the most important art magazine in the world: its circulation is less than the…
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Helen Molesworth Upends the Permanent Hang at MOCA LA
Ruth Asawa spent the summer of 1948 making buttermilk for her teachers, Josef and Anni Albers, in Asheville, North Carolina. She was enrolled at…
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