Originally published by The Seen, July 2014.
“…Heva, naked Eve. She had no navel. Gaze. Belly without blemish, bulging big, a buckler of taut vellum, no, whiteheaped corn, orient and immortal, standing from everlasting to everlasting. Wombed in sin darkness I was too, made not begotten. By them, the man with my voice and my eyes and a ghostwoman with ashes on her breath. They clasped and sundered, did the coupler’s will.” — James Joyce, Ulysses, Episode Three,... +
Philippe Parreno. Installation view of Anywhere, Anywhere, Out of the World, Palais de Tokyo, 2013. Philippe Parreno. How Can We Know the Dancer from the Dance?, 2012. Courtesy Esther Schipper Gallery. Photo: Aurélien Mole.
The following review was originally published in Art21 in June, 2014.
In the first week of January, I found myself in Paris. It was raining and we had just walked down the Champs Élysées, where endless streams of vendors sold funnel cake, crêpes, spätzle, pretzels, paella, beer, wine, glögg, roasted nuts, chocolate, plastic mobile-phone cases, stuffed animals,... +
The following interview was originally published by Artslant on April 6, 2014.
Xaviera Simmons is a New York-based artist whose practice manifests in performance, photography, sculpture, installation, sound, video and more. That dynamic interdisciplinary material is fueled by research, contemplation and feeling, three modes that enable Simmons to not only reflect the complexity of the human condition but also empathize with it. No subject would seem unconquerable: she tackles history, the... +
The following interview was originally published by Artslant on September 16, 2013.
When I came to Chicago in 2004, Goat Island was a prominent feature in the performance art landscape. Its reputation extended beyond the Midwest, across the ocean to Europe. The group began in 1987 and, until its ninth and last performance in 2009, conscientiously developed a collaborative body of performance work. Co-founder and Director, Lin Hixson, since went on with Goat Island’s other co-founder,... +
Heather Mekkelson. “Limited Entry,” 2008. Mixed media (soaked in clay slurry, particulates added, sealed). Old Gold, Chicago, IL. Courtesy of the artist.
The following essay was originally published in Art21 in May, 2013.
It was the summer of 2008. It was hot. And humid. Everything was green and/or sweating. People who didn’t sweat stood out. Their reserve both enviable and mysterious—a contrast from everything else. Refuge from the heat was similarly impressive and constantly sought. Most apartment galleries were barely tolerable for... +
