What Kind of Criticism Do We Need Now? Coming to Terms with Teju Cole’s “Known and Strange Things”
“We look at them for the way they cooperate with the imagination, the way they contain what cannot otherwise be accommodated, and the…
Read MoreJohn Berger
Ways of Seeing John Berger, in Two Recent Documentaries
“It’s in hell where solidarity is important, not in heaven.” – John Berger, Seasons in Quincy Media veracity, it seems clear, has dissolved into…
Read More
Redefining the Sex in the Sale at Birch Contemporary
In the wake of last year’s No Man’s Land: Women Artist’s from The Rubell Family Collection, and the unprecedented Larry Gagosian / Jeffrey Deitch…
Read More
On Kawara’s “I Am Still Alive” Twitter Presence: An Anomaly in Post-Internet Art
The most grievous problem with post-internet art has been its nebulousness. If, as Saelan Twerdy recently claimed in Momus, post-internet art may have reached…
Read More
Post-Crisis: What’s Next for Art Criticism in a Digital Age
Momus was founded a short time ago. It was initiated as a proposed recovery from a confused and defensive (and, so I thought, largely…
Read More
The Commons of Aggregation: The Case for Net Art as Public Art
Let me begin with an art historical chestnut — a 1855 painting by the French painter Gustave Courbet called The Artist’s Studio, A Real…
Read More