“I Left This for a Reason”: An Interview with Amy Fung
The truth is, I’m bored by all the ways I hate art criticism – its pitfalls are too obvious to want to hash out,…
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“I Think I’m Really Enjoying Painting”: Margaux Williamson’s New Work
Every five or six years, the painter Margaux Williamson quits painting. In these moments, she thinks she might not go back. But something always…
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Season 4 Episode 7: Nora N. Khan on “Within, Below, and Alongside”
“A school will change you, and it teaches you as much about how people will interpret you, misunderstand and dismiss you, as it will…
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“I Don’t Go to Crisis Just Yet”: Four Painters Discuss the Rise of Figurative Painting
What’s the fuss about the new representation? A recent spate of articles and exhibitions have addressed the new representational painting – some generously, others…
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Anna Mayer Reconstitutes Loss in Houston
Anna Mayer’s first solo exhibition in Houston, Forms of Inheritance, opens with a photographic mural printed on cotton canvas and splayed across a wall…
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Season 4 Episode 6: Alexandra Stock on “The Privileged, Violent Stunt”
Lauren Wetmore interviews Swiss American curator and writer Alexandra Stock about her scathing critique of Christophe Büchel’s 2019 Venice Biennale project Barca Nostra. Published that…
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Ron Athey’s “Far-Right Flirtations”
I have never been to a Ron Athey performance. I never went to any of the clubs he frequented; I’ve never met him in…
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See You on the Other Side: Matthew Wong’s Vistas of the Mind
In Matthew Wong’s oil painting See You On the Other Side (2019), a figure in blue stands at the edge of a frozen landscape…
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Imagination Over Submission: Luis Camnitzer’s Liberatory Art Education
Over the summer of 2020, I was continually surprised by the versatility of cars. Amid mutual aid mobilizing and uprisings against police – each…
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With No Type of Story: Touring the Untied Mind of Pippa Garner
In 1978, the artist Pippa Garner wrote a list of “Opinions and Comments.” Among them is one that reads, “People should name their brains,”…
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