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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How Protest Works Now: Understanding “The Tear Gas Biennial” and its Historic Effect
In the pantheon of texts about art, there are very, very few that have had the impact of “The Tear Gas Biennial.” Published online…
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Wire and String: Olga Balema’s Sinewy Abjection
What does it mean when the most meaningful thing is damn near nothing at all? Not the antiseptic nothing of Marie Kondo’s puritan minimalism,…
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“We Need More Voices”: Introducing the Momus Emerging Critics Residency
In late August 2019, Momus will be launching its inaugural Momus Emerging Critics Residency, in collaboration with Montreal’s Concordia University. We’re incredibly excited to…
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Remembering Katharine Mulherin
Katharine Mulherin, a beloved member and leader of the Toronto art community, has left us much too soon. As we begin the hard work…
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Firing Blanks: Hito Steyerl and the Voiding of Research Art
We’ve all heard the statistics. That in America, there is a mass shooting every day, that one hundred Americans die from gun violence daily,…
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Where Do We Go From Here? Dubious Wealth and Ethical Funding
In the popular imagination, calling someone a “modern Medici” is a synonym for “visionary patron of the arts.” That association itself shows how much…
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Episode 11: “What Makes Great Art?” with Jinn Bronwen Lee
As we continue our season-long exploration of “What makes great art?”, Sky Goodden sat down with Jinn Bronwen Lee, an artist based in Chicago….
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The Totemic Quotidian in Roula Partheniou
At a time when contemporary art production is dominated by forces outside its control, pulling and pushing against commercial and cultural contexts; when media…
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Can a Lobby Be Subversive? Jenny Holzer’s Comcast Capitulation
At 60 stories and 1,121 feet, the new Comcast Technology Center is the tallest building in Philadelphia, a glaringly optimistic slice of the city’s…
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