Peter Hujar’s Still Life in Motion
There is a photograph installed near the end of Peter Hujar: Rialto at New York’s Ukrainian Museum that still holds my attention. It is…
Read MoreRoland Barthes
Our Visuality: Abortion Care Work and Photography
What is the visuality of abortion care? Though I am writing this text for a publication based in Los Angeles—once my home for many…
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Mia Sandhu Holds the Gaze Hostage
Seeing You, Seeing Me, Seeing You, as a title, is a bit misleading. At first blush, you couldn’t tell whether the figures in Mia…
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Living Fragments: On Berlin’s Winter of Broken Pieces
I, for one, want to be broken into pieces. The way sappy music breaks its lovers. We bright-lit gallery people are more reserved. But…
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From Dust to Light: On Photography’s Material Traces
On the occasion of the opening of a Handful of Dust, at the Polygon Gallery in North Vancouver, visiting curator David Campany shared an…
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Carolee Schneemann’s Ethics of Eros
Amid a surging wave of political activism and newly liberated energies, Carolee Schneemann wrote, in 1968, that “perception should lead to action.” Schneemann suspected…
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The Atmospheric Pressure in “Reading” Barbara Bloom
Is there a color more indexical of melancholy than blue-grey? It is the color of fog, the color of nature suffused with an intelligence;…
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In the Skin of a Gallery: Sylvie Bélanger’s Challenge to Photography
The image disputes the presence of the thing. In the image, the thing is not content simply to be; the image shows that the…
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On Kawara’s “I Am Still Alive” Twitter Presence: An Anomaly in Post-Internet Art
The most grievous problem with post-internet art has been its nebulousness. If, as Saelan Twerdy recently claimed in Momus, post-internet art may have reached…
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