Sara Cwynar Prepares Herself to Turn
Sara Cwynar is just young enough to speak the mother-tongue of post-photography. Certainly her work assumes the dimensionality of an exploded medium and exercises…
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Acting Out: The Visibility of Blackness in the Work of Martine Syms
Hair flicks, flirtatious glances, side eye. Hands beckoning and clapping, a finger wagging in rebuke. Body language is highlighted in Borrowed Lady, an exhibition…
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Weird Science: William Kentridge Deepens Time at Whitechapel
Normal science, wrote Thomas Kuhn, is the way most scientists spend their time: the quotidian task of theorizing, observing, experimenting – puzzle solving, in…
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Romancing the Stone: Three Berlin Exhibitions Commune with the Ancients
The past vexes us. Longing to feel connected to it, those with money tour the world’s ancient ruins searching antediluvian kin. Meanwhile in Eurocentric contemporary…
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A Culture War is Coming
Very early on November 9 – about a minute after permanent midnight – the stunned responses started rolling in. “WTF are you doing over…
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A House Divided: Theaster Gates’s Confused Beat at the AGO
Touted as “a new immersive work,” Theaster Gates‘s first museum solo exhibition – self-knowingly titled How to Build a House Museum, and recently on show…
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Clive Holden Grounds the Digital in Aura
I spend most of my life on the internet. I work here, I entertain myself here; I distract, delay, advance, compose, and channel myself…
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Toronto the Good, in Two Histories
Sometimes you get the history you want. Sometimes you get the history you deserve. And sometimes you get the history that’s good for you….
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How to FOMO: Missing Out On the Fear of Missing Out
Along the long evening avenue of towering hotels during the art fair, you weave through the crowds. Another night. The faces flicker and scatter…
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The Past Imperfect of Jutta Koether
For many years, Jutta Koether drained blood and love from the color red. In her paintings, that untouchable hue became atmosphere for a genus…
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