Through the Looking Glass: Distortion and the Fantasy of a Feminist Nude
Rarely do I find a work of art as disturbing as Louise Bonnet’s innocuously titled painting Figure Holding an Orange (2023). This thirty-square-foot oil-on-linen…
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“But Can a Spirit Burn?”: Alternatives for Art Under Capital
We were reprimanded before the meeting even began. The guard, a tough looking woman employed at the Lisbon Tropical Botanical Garden, told us that…
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Ana Mendieta’s Death is Not a Metaphor
Let the art come first. This must have been the axiom behind Covered in Time and History, Martin-Gropius-Bau’s 2018 exhibition of twenty-three films and…
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Carolee Schneemann’s Ethics of Eros
Amid a surging wave of political activism and newly liberated energies, Carolee Schneemann wrote, in 1968, that “perception should lead to action.” Schneemann suspected…
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Are Sex Differences Getting in the Way?: The Limits of Gender-Based Curating
Dear Dick, I’m wondering why every act that narrated female lived experience in the ‘70s has been read only as “collaboration” and “feminist.” The…
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After Bjork Fiasco, MoMA’s Yoko Ono Show Makes a Case for Art and Celebrity
Yoko Ono: One-Woman Show, 1960-1971 arrives at the Museum of Modern Art pre-freighted with issues of art and celebrity that have dogged the institution of…
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The Suffering Body of 1993: Whatever Happened to the “Abject”
The best way to fuck something up is to give it a body. A voice is killed when it is given a body. Whenever…
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Women and Influence and the Other Things He Got Wrong: A Rebuttal To Brad Phillips
At a time when so many critics are perfunctorily setting about their annual “best-of” surveys, Brad Phillips published a 3,000-word article that carried the…
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