“A Multiculti Blitzkrieg”: On the Ascendance of the Curator of Color
Yoshio Taniguchi’s 2004 expansion of the Museum of Modern Art integrated the glass buildings on either side of the museum so that when you…
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Bad Reviews
I took a community-college workshop five years ago with Kirk Stoller, an artist whose work I could look at forever. Kirk used carpentry tailings…
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Proving the Rule: The “Exceptionalism” Problem with Art-World Labor
It’s a rainy winter day in New York amid the ongoing apocalypse and I am struggling to think about museums. I do not, any…
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On Whiteness
In 2017, I started working with Claudia Rankine and a collective called the Racial Imaginary Institute (TRII). For their inaugural project they were curating…
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Jill Mulleady’s Twilight Hour
Last year, during New York City’s extended lockdown, one of the few works still on public display was a mural hung outside the Whitney…
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“I Don’t Go to Crisis Just Yet”: Four Painters Discuss the Rise of Figurative Painting
What’s the fuss about the new representation? A recent spate of articles and exhibitions have addressed the new representational painting – some generously, others…
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Episode 19: “What’s Changed, and What Should?” with Johanna Fateman
For this episode, Sky Goodden spoke with art writer and musician Johanna Fateman, a regular contributor to The New Yorker, a contributing editor…
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Nick Mauss’s Continental Divide
Nick Mauss is a fan of verre eglomisé, or “distressed hand-gilded mirror,” a phrase that sounds very European, and very gay. The artist takes…
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New Forms for New Crises: The Need for a New Ecological Representation
In his recent polemic Against the Anthropocene, art historian T. J. Demos calls for a shift in the language we use to think through…
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Embarrassed Celebrity: Laurie Simmons’s Feature Debut
Celebrity is truly the public health crisis we deserve. I recently watched a clip of pop star Katy Perry on a Japanese game show,…
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