Divya Mehra, Stirring and Whirring Colonialism’s Ghosts
The whirring motor sound emanates from an unusual contraption. A linear aluminum-rail system is attached to the wall, a vertical glint of silver adrift…
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Reviewing the Reviews: The 2024 Whitney Biennial
As the longest-running institutional survey of contemporary American art, the Whitney Biennial never fails to create “discourse.” Each iteration makes a claim about the…
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“A Multiculti Blitzkrieg”: On the Ascendance of the Curator of Color
Yoshio Taniguchi’s 2004 expansion of the Museum of Modern Art integrated the glass buildings on either side of the museum so that when you…
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Learning as Supporting: Alternatives for Futures in Art Education
Artist Eliza Swann moved to Los Angeles in 2013, after the spirit of a raven told her, head west. Swann had been in the…
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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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Episode 5: Conflict of Interest with Catherine G. Wagley and Tyler Green
In this episode of “Criticism in Conversation,” two art critics and historians discuss “conflict of interest” in contemporary art criticism. Tyler Green, the host…
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Episode 5: Conflict of Interest with Tyler Green and Catherine G. Wagley
In this episode of “Criticism in Conversation”, two art critics and historians discuss “conflict of interest” in contemporary art criticism. Tyler Green, the host of…
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Interview: Kalup Linzy In Between Acting and Performing
Commenting on a creative relationship that was at the beginning of its end, a 2011 New York Times article quoted Hyperallergic editor-in-chief Hrag Vartanian…
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“What Instruments Have We?”: A Conversation with Emily Roysdon
“1. I believe in an alchemy of time. That a certain combination of words, a length of inaction, a discomposed room, or with some…
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