She Was Paying Attention: Remembering Alexis Smith
Satisfaction (2000) by the artist Alexis Smith is a collage that features a shabby reproduction of Hokusai’s The Great Wave placed within a glitzy…
Read MoreCindy Sherman
On Whiteness
In 2017, I started working with Claudia Rankine and a collective called the Racial Imaginary Institute (TRII). For their inaugural project they were curating…
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With Sharper Tools: Defending the National Endowment for the Arts
The Heritage Foundation and conservative groups like it have been trying to kill the National Endowment for the Arts for decades. Last month, the Trump…
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Confronting Gender Imbalance at the Rencontres d’Arles
The Rencontres d’Arles is arguably the most important photography event of the year. From tiny galleries to medieval churches to a Roman amphitheater, the…
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Hold Still: A History of Performing for the Camera from Nadar to the Selfie
The most famous performance photograph of all time must be the one known as Saut dans le vide (Leap into the Void), showing 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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The Subtle Evolution and Marked Aging of Michael Smith’s “Mike”
Michael Smith belongs to the first wave of artists who made extensive use of mass-media imagery and formats in their work. His conceptually-minded peers…
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Interview: Curator Christopher Eamon Troubles the Shifting Form (and Relevance) of Photography
Early in its trajectory, independent curator and writer Christopher Eamon distinguished himself in the field of moving-image media and photography, and asserted its knock-kneed…
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Querying the New Appropriation Art: Is This Cynicism?
The Denny Gallery may have given themselves a curatorial headache with the title of their current exhibition, Share This! Appropriation After Cynicism. There are…
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