It’s Not Stealing If It’s Art: A Re-Primer on Image Appropriation for the Internet Generation
… every text is from the outset under the jurisdiction of other discourses which impose a universe on it… [text operate] within the totality…
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Space is the Plane: Chris Curreri Explodes His Medium at the Gardiner Museum
Walking into the foyer of the Gardiner Museum, one comes face-to-face with what appears to be a segment taken directly from an archaeological dig, or…
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View from Here: On the Contingency of Sight in Wanda Koop
The emphatic capitalization of VIEW from HERE, Wanda Koop’s recent solo exhibition at the Winnipeg Art Gallery, implies an urgent specificity that is never…
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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…
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The Exit Interview: Matthew Teitelbaum
June 26, 2015 marks Matthew Teitelbaum’s last day as the director and CEO of the Art Gallery of Ontario (AGO). His departure caps 22 years…
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Sheila Heti Interviews John Currin on the Fun, Beautiful Things
I met with John Currin a couple of years ago. He was finishing up a series of paintings sourced in porn images from 1970s…
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A Rebuttal, Not a Conversation: Discussing Ombaasin’s AGO Intervention, “Land Rights Now”
Walking the AGO’s latest exhibition Picturing the Americas: Landscapes from Tierra del Fuego to the Arctic with Wanda Nanibush, an Anishnawbe-kwe artist, consultant, and…
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VSVSVS at Mercer Union: A White-Cube Compromise
The frisky Toronto collective VSVSVS – a collective of emerging artists, most of whom are connected to Guelph University, and many of whom share…
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Interview: Tacita Dean
Twice in the course of a thirty-minute interview with Tacita Dean, her eyes move across the room and narrow-in on the media coordinator, who…
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What Is an Art Critic Doing at an Art Fair?
In May I was part of a panel at NADA. It wasn’t about criticism but someone asked me why I write reviews of art…
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