Dataspace: From the Observed Object to the Participating Subject
The first time I visited Laboratorio Arte Alameda (LAA), a house of creative electronic experimentation in the heart of Mexico City, I didn’t know…
Read MoreLucy Lippard
“I Wish We Could Reach for New Language”: An Interview with Sky Goodden
Sky Goodden is the founding publisher and editor of Momus, an online art publication based in Canada. Since its founding in 2014 Momus has…
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An Aesthetic of Enough
This month, COP26, the UN’s near-annual climate conference, gathered global heads of state to set a new round of targets to limit global emissions…
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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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Ceramics in the Expanded Field: The Art World, the Clay World, and the Case for John Mason
Let’s suppose that ceramic art, done by artists who were clay handlers before anything else, got accepted as sculpture proper – that and nothing…
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What to Do About Klaus: How Arts Communities Assert Their Agency
As first impressions go, it wasn’t ideal. On the week he was announced as MOCA Los Angeles’s new director, Klaus Biesenbach managed to alienate…
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Think of Harald’s Position: Weighing Szeemann’s Obsessions in L.A.
Harald Szeemann organized a show called Friends and Their Friends in 1969, his last year as chief curator at the Kunsthalle Bern. Selected artists…
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Regionalism Vs. Provincialism: Agitating Against Critical Neglect in Artworld Peripheries
In February, I sent Momus editor Sky Goodden a draft of a review of an exhibition in Alberta that I had pitched to her…
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“How to Lie About Canadian Art”: A Case Study in Art Criticism
Art criticism doesn’t often speculate on the value of pithy maxims such as ‘there’s no such thing as bad publicity.” But when an article…
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How to See the Invisible
“An SEP,” he said, “is something that we can’t see, or don’t see, or our brain doesn’t let us see, because we think that…
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