In February 2015, I published “Reality Formatting” in the catalogue for the New Museum’s 2015 Triennial, “Surround Audience,” curated by Lauren Cornell and Ryan Trecartin. The essay focuses on the role of standardization and technologies of mediation in the work of José León Cerrillo, Lawrence Abu Hamdan, and Daniel Steegmann Mangrané. A version of this essay […]
In March 2015, Triple Canopy, Sternberg Press, and Tensta Konsthall published Headless, an exhilarating murder-mystery by the elusive K. D. I wrote the introduction to the novel, which probes the sordid secrets and sinister deeds of powerful financiers who use Caribbean firms to conceal their fortunes. (My introduction previously appeared in Triple Canopy as “Headless Commercial Thriller.”) […]
In September 2014, my conversation with artist David Horvitz was included in his postcard publication Somewhere Between the Jurisdiction of Time, published by Art in America on the occasion of the NY Art Book Fair. The conversation covers the standardization of time, the tyranny of the hourglass, the dislocation of meridians, and the purpose of Swiss church bells. Click here […]
In the September 2014 issue of Art in America, I published “GlblVlgIdiot Annual Report 2014,” a portfolio that adapts for the page a performance created with author Joshua Cohen and artist Jon Kessler. Click here for the PDF. More information about the performance, Introducing the Web, which examines the techno-utopian language and libertarian endgame of Silicon Valley and was […]
Triple Canopy’s contribution to the 2014 Whitney Biennial is Pointing Machines, an installation titled after the simple eighteenth-century measuring tool for reproducing sculpture in stone or wood with a system of adjustable rods and needles. The installation consists largely of reproductions—by handcraft, 3-D printing, and photography—of paintings and a colonial-era wash basin stand, once part of the […]
An essay on the untimeliness of Native American art, in the annual catalogue of Donald Ellis Gallery.
A contribution to the catalogue for Johan Grimonprez’s 2011 exhibition of the same name at Houston’s Blaffer Art Museum.