I am so excited to share a new essay in Momus exploring how my way of looking at art (and life) has changed since having a baby:

"I’ve rediscovered the joy of looking at art because I get to look at it with my son, which makes me feel less alone. In a way, art has become more important to me, while all the trappings of the contemporary art world have become so much more tiresome, superfluous. After surviving the fourth trimester, I am no longer daunted by the melodramas of the art world, the glitzy fairs, the antics of the enfant terrible of the moment, the internet improprieties of aging art critics. It all feels so small—a cocktail party circus."

If you enjoy this essay, you will probably enjoy the podcast I recorded exploring these themes in relation to some of my artwork, Episode 3 of the Revolution Art Society Podcast (available on Apple Podcasts, Spotify, and YouTube)

In this essay I trace how neoclassical art functions as propaganda for white supremacist and colonial imaginations of power and marginalized bodies.

"It was within these acts of world-cannibalization that whiteness was invented (Systema Naturae, by Carl Linnaeus, which divided humans into five distinct species was published in 1767). It became a way to make clear who could be the slave owner and who could be the slave, who could be a colonizer and who could be colonized, who was expendable and who wasn’t, who could be consumed and who consumed, a way to define a human."

My essay on art, "social practice," politics, capitalism, and gentrification can be read at the link above on Sixty Inches from Center. It is a companion piece to my interview with artists Samantha Hill and Ed Woodham, who were expelled from their residency in Macon, Georgia in the summer of 2016.

"For decades, public art has been doing the labor of enforcing neoliberal 'order' in the urban frontier, both through publicly funded projects and private projects supported by corporations and developers. It appears that in Macon, the once radical discourse of 'Social Practice' has been absorbed into the same machine."

#NewGlobalMatriarchy, an essay I co-authored with Stephanie Graham, is included in this collection, edited by Jessica Caponigro and available for purchase at the link above.

I am very happy about my first print publication, an essay and artwork in Issue 5 of Skin Deep Magazine. Print issues are available for purchase in London or online. You can read the essay here.

"Monsters are always infiltrating, using whatever privilege they have to get into the room, and then their mouths open wide to swallow you whole. A monster wears her alienage like a family crest. She asks uncomfortable questions at faculty meetings. She takes notes for future rebellions. A monster takes her hurt in her hands and lays it at the feet of the offending party, holding picket lines and séances."

Poems published in Drunken Boat 23, part of the "Speculative" folio edited by Anomalous Press.

She says she is afraid she is being erased
Of being whited out
She fears for the memory of her ancestors
She fears for the bodies of her kin

They listen for a while, then say:
but, you look white

She made a skirt of their severed arms
And wove flowers into her hair.

An exploration of "Diversity Work" and workers within arts institutions

Co-authored with Eunsong Kim, part of the first issue of contemptorary a new art writing project highlighting marginalized voices in the art world.

In Issue #5: HEALTH of Sixty Inches from Center

Co-authored with Eunsong Kim

A response to the 2014 Whitney Biennial, co-authored with Eunsong Kim. Selected by Ben Davis and the editorial staff at artnet.com as one of the most important art essays of 2014.

A blog that explores my museum-related projects