There is the Rising: Shelley Niro’s Reckoning Retrospective
When it comes to critical analysis of an Indigenous artist’s output, there is a tendency to circumscribe. We want to capture and we want…
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Radical Looking: Newly Seeing Art With My Baby
When our son was nine and a half weeks old and the only place we had managed to take him was the pediatrician’s office,…
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REDCAT’s Rediscovery of the Iconic Feminist Art Program
The Feminist Art Program (1970–1975): Cycles of Collectivity, which recently closed at REDCAT (an art center run by CalArts), could easily have been called Cycles…
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Loosening the Stays
Bowdoin College is not a place particularly accommodating to weirdos—or at least it wasn’t when I attended lo these many years ago. Perhaps things have changed…
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Changing the Ground: Amy Sillman Talks About Painting
Amy Sillman is a highly regarded painter, writer, and curator based in New York. One might regard her as a consummate insider. The artist…
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A Feeling Between the Lines: The Anxious Influence of Agnes Martin’s “Writings”
The painter Agnes Martin contemplated language with a great deal of skepticism. Though she produced an impressive body of written work, mostly compiled and…
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On the Sense of Queer Loneliness: Sacha Yanow’s “Uncle!” at The Kitchen
A lone wolf stalks the edges of Sacha Yanow’s one-person performance Uncle! that premiered at The Kitchen in New York in February. In nature,…
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Embraced by an Amniotic Earth: Delcy Morelos at Dia Chelsea
In El abrazo, Delcy Morelos’s site-specific solo exhibition at Dia Chelsea in New York, two earthworks swell against the perimeters of two discrete, darkened…
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Caroline Monnet’s Uneasy Objects
Pizandawatc / The One Who Listens / Celui qui écoute, a recent exhibition at the Art Museum at the University of Toronto (AMUT), draws…
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Falling From the Tower: Levani on the Necessity of Endings
In the fall of 2023, when I came to New York on a research fellowship, I visited Levani’s studio for the second time. Levani,…
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