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yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

yes, that's John Ruskin as a pigeon studying St. Mark's, an image i'm, obviously, delighted to have above my review of his mad The Stones of Venice—the whole three-volume shootin match of which is now returned to print after more than a century (complete with fine reproductions of Ruskin's own drawings, as shown in 3-8 here)—in the new issue of the @nyreviewofarch; if you've ever thought 'wait a minute, do i hate the renaissance?' this is a book for you! (and if you haven't, maybe it'll make you wonder about some things...) anyway, link in stories/bio, my enormous gratitude to @chloewyma for her edits, and if anyone in New York wants to join a Fors Clavigera reading group this winter/spring/beyond, please feel free to get in touch....

i've been endlessly lucky in my life in more ways than i can count, but nothing has been luckier than meeting @kelseyshwetz (of course it wasn't luck, it was the only way things could be) and today marks ten years of marriage to the best, the most brilliant and beautiful and charming and caring, person, my bright particular

i've been endlessly lucky in my life in more ways than i can count, but nothing has been luckier than meeting @kelseyshwetz (of course it wasn't luck, it was the only way things could be) and today marks ten years of marriage to the best, the most brilliant and beautiful and charming and caring, person, my bright particular

i've been endlessly lucky in my life in more ways than i can count, but nothing has been luckier than meeting @kelseyshwetz (of course it wasn't luck, it was the only way things could be) and today marks ten years of marriage to the best, the most brilliant and beautiful and charming and caring, person, my bright particular

i've been endlessly lucky in my life in more ways than i can count, but nothing has been luckier than meeting @kelseyshwetz (of course it wasn't luck, it was the only way things could be) and today marks ten years of marriage to the best, the most brilliant and beautiful and charming and caring, person, my bright particular

for the new, summer-blockbluster-sized issue of the @nyreviewofarch, wrote about Laura Owens at Matthew Marks, a show with the two best new paintings i've seen this year which otherwise mostly made me feel awful; with thoughts on thinness and immersion, galleries desperately trying not to be stores for the hyperrich, and the weight of demands for personal disclosure thru art. my immense gratitude to @chloewyma for her precise, insightful edits. (link in bio/stories but really go read it on newsprint, it's better i promise)

for the new, summer-blockbluster-sized issue of the @nyreviewofarch, wrote about Laura Owens at Matthew Marks, a show with the two best new paintings i've seen this year which otherwise mostly made me feel awful; with thoughts on thinness and immersion, galleries desperately trying not to be stores for the hyperrich, and the weight of demands for personal disclosure thru art. my immense gratitude to @chloewyma for her precise, insightful edits. (link in bio/stories but really go read it on newsprint, it's better i promise)

for the new, summer-blockbluster-sized issue of the @nyreviewofarch, wrote about Laura Owens at Matthew Marks, a show with the two best new paintings i've seen this year which otherwise mostly made me feel awful; with thoughts on thinness and immersion, galleries desperately trying not to be stores for the hyperrich, and the weight of demands for personal disclosure thru art. my immense gratitude to @chloewyma for her precise, insightful edits. (link in bio/stories but really go read it on newsprint, it's better i promise)

for the new, summer-blockbluster-sized issue of the @nyreviewofarch, wrote about Laura Owens at Matthew Marks, a show with the two best new paintings i've seen this year which otherwise mostly made me feel awful; with thoughts on thinness and immersion, galleries desperately trying not to be stores for the hyperrich, and the weight of demands for personal disclosure thru art. my immense gratitude to @chloewyma for her precise, insightful edits. (link in bio/stories but really go read it on newsprint, it's better i promise)

for the new, summer-blockbluster-sized issue of the @nyreviewofarch, wrote about Laura Owens at Matthew Marks, a show with the two best new paintings i've seen this year which otherwise mostly made me feel awful; with thoughts on thinness and immersion, galleries desperately trying not to be stores for the hyperrich, and the weight of demands for personal disclosure thru art. my immense gratitude to @chloewyma for her precise, insightful edits. (link in bio/stories but really go read it on newsprint, it's better i promise)

for the new, summer-blockbluster-sized issue of the @nyreviewofarch, wrote about Laura Owens at Matthew Marks, a show with the two best new paintings i've seen this year which otherwise mostly made me feel awful; with thoughts on thinness and immersion, galleries desperately trying not to be stores for the hyperrich, and the weight of demands for personal disclosure thru art. my immense gratitude to @chloewyma for her precise, insightful edits. (link in bio/stories but really go read it on newsprint, it's better i promise)

for the new, summer-blockbluster-sized issue of the @nyreviewofarch, wrote about Laura Owens at Matthew Marks, a show with the two best new paintings i've seen this year which otherwise mostly made me feel awful; with thoughts on thinness and immersion, galleries desperately trying not to be stores for the hyperrich, and the weight of demands for personal disclosure thru art. my immense gratitude to @chloewyma for her precise, insightful edits. (link in bio/stories but really go read it on newsprint, it's better i promise)

for the new, summer-blockbluster-sized issue of the @nyreviewofarch, wrote about Laura Owens at Matthew Marks, a show with the two best new paintings i've seen this year which otherwise mostly made me feel awful; with thoughts on thinness and immersion, galleries desperately trying not to be stores for the hyperrich, and the weight of demands for personal disclosure thru art. my immense gratitude to @chloewyma for her precise, insightful edits. (link in bio/stories but really go read it on newsprint, it's better i promise)

as far as i can see any value in writing criticism at this horrible point, it’s in trying to understand how art (making it, looking at it, thinking about it) can go on making sense as a worthwhile use of anyone's time—trying to figure out how images (and sounds and words) hold and shape our attention, and how that all might return us to the world with new ways of seeing and thinking and acting—so i pulled on a few threads in that direction with some notes on this year’s Currents program for my friends at Mubi. my considerable gratitude to @44getting and @c_l1z0tte for their fine edits. (link in the usual place)

as far as i can see any value in writing criticism at this horrible point, it’s in trying to understand how art (making it, looking at it, thinking about it) can go on making sense as a worthwhile use of anyone's time—trying to figure out how images (and sounds and words) hold and shape our attention, and how that all might return us to the world with new ways of seeing and thinking and acting—so i pulled on a few threads in that direction with some notes on this year’s Currents program for my friends at Mubi. my considerable gratitude to @44getting and @c_l1z0tte for their fine edits. (link in the usual place)

as far as i can see any value in writing criticism at this horrible point, it’s in trying to understand how art (making it, looking at it, thinking about it) can go on making sense as a worthwhile use of anyone's time—trying to figure out how images (and sounds and words) hold and shape our attention, and how that all might return us to the world with new ways of seeing and thinking and acting—so i pulled on a few threads in that direction with some notes on this year’s Currents program for my friends at Mubi. my considerable gratitude to @44getting and @c_l1z0tte for their fine edits. (link in the usual place)

as far as i can see any value in writing criticism at this horrible point, it’s in trying to understand how art (making it, looking at it, thinking about it) can go on making sense as a worthwhile use of anyone's time—trying to figure out how images (and sounds and words) hold and shape our attention, and how that all might return us to the world with new ways of seeing and thinking and acting—so i pulled on a few threads in that direction with some notes on this year’s Currents program for my friends at Mubi. my considerable gratitude to @44getting and @c_l1z0tte for their fine edits. (link in the usual place)

as far as i can see any value in writing criticism at this horrible point, it’s in trying to understand how art (making it, looking at it, thinking about it) can go on making sense as a worthwhile use of anyone's time—trying to figure out how images (and sounds and words) hold and shape our attention, and how that all might return us to the world with new ways of seeing and thinking and acting—so i pulled on a few threads in that direction with some notes on this year’s Currents program for my friends at Mubi. my considerable gratitude to @44getting and @c_l1z0tte for their fine edits. (link in the usual place)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote a bit about filmed portraiture on the occasion of Luke Fowler's N'Importe Quoi, his typically fine and free portrait of the great Brunhild Meyer-Ferrari, showing at @opencitydocs, with regrettably briefer thoughts on films by James Edmonds, Lucy Harris, and Louis Henderson. my deep gratitude to @wren_k for both the invite and the sharp edits. wish i could be in London this weekend for one of the few festivals in the world that's not embarrassing itself at the moment. (link above, as ever)

wrote about Mary Helena Clark's show at Bridget Donahue for Film Comment (link ^ as usual, etc.) if you're in new york i would more than gently encourage you to go see it before it closes on saturday

wrote about Mary Helena Clark's show at Bridget Donahue for Film Comment (link ^ as usual, etc.) if you're in new york i would more than gently encourage you to go see it before it closes on saturday

wrote about Mary Helena Clark's show at Bridget Donahue for Film Comment (link ^ as usual, etc.) if you're in new york i would more than gently encourage you to go see it before it closes on saturday

wrote about Mary Helena Clark's show at Bridget Donahue for Film Comment (link ^ as usual, etc.) if you're in new york i would more than gently encourage you to go see it before it closes on saturday

wrote about Mary Helena Clark's show at Bridget Donahue for Film Comment (link ^ as usual, etc.) if you're in new york i would more than gently encourage you to go see it before it closes on saturday

wrote about Mary Helena Clark's show at Bridget Donahue for Film Comment (link ^ as usual, etc.) if you're in new york i would more than gently encourage you to go see it before it closes on saturday

wrote about Mary Helena Clark's show at Bridget Donahue for Film Comment (link ^ as usual, etc.) if you're in new york i would more than gently encourage you to go see it before it closes on saturday

tomorrow at 2:30, "my" segment of the great Ojoboca's project Frame Analysis has, i think, its world premiere at @movingimagenyc before Lois Patiño's Samsara; i'll be there, briefly seeing what things are like on the other side of the critic-artist divide (given the nature of the work, that might be at least a little bit of a lie; i'm still not sure, honestly). in any case, would love to see you.

wrote about Suneil Sanzgiri's Brooklyn Museum show for @e_flux. as someone who's been frustrated by the experience of much recent art made in the name of political sympathies that i share, it was a real pleasure to spend time with work whose form is as compelling as its ideas are sensible and serious and demanding. i haven't grown quite earnest enough yet to tell anyone that they can or should "learn" from a piece of art, but i find this work useful to think with when it comes to the horrors of our own moment and maybe you will too (it's up until May)

wrote about Suneil Sanzgiri's Brooklyn Museum show for @e_flux. as someone who's been frustrated by the experience of much recent art made in the name of political sympathies that i share, it was a real pleasure to spend time with work whose form is as compelling as its ideas are sensible and serious and demanding. i haven't grown quite earnest enough yet to tell anyone that they can or should "learn" from a piece of art, but i find this work useful to think with when it comes to the horrors of our own moment and maybe you will too (it's up until May)

wrote about Suneil Sanzgiri's Brooklyn Museum show for @e_flux. as someone who's been frustrated by the experience of much recent art made in the name of political sympathies that i share, it was a real pleasure to spend time with work whose form is as compelling as its ideas are sensible and serious and demanding. i haven't grown quite earnest enough yet to tell anyone that they can or should "learn" from a piece of art, but i find this work useful to think with when it comes to the horrors of our own moment and maybe you will too (it's up until May)

wrote about Suneil Sanzgiri's Brooklyn Museum show for @e_flux. as someone who's been frustrated by the experience of much recent art made in the name of political sympathies that i share, it was a real pleasure to spend time with work whose form is as compelling as its ideas are sensible and serious and demanding. i haven't grown quite earnest enough yet to tell anyone that they can or should "learn" from a piece of art, but i find this work useful to think with when it comes to the horrors of our own moment and maybe you will too (it's up until May)

wrote about Suneil Sanzgiri's Brooklyn Museum show for @e_flux. as someone who's been frustrated by the experience of much recent art made in the name of political sympathies that i share, it was a real pleasure to spend time with work whose form is as compelling as its ideas are sensible and serious and demanding. i haven't grown quite earnest enough yet to tell anyone that they can or should "learn" from a piece of art, but i find this work useful to think with when it comes to the horrors of our own moment and maybe you will too (it's up until May)

wrote about Suneil Sanzgiri's Brooklyn Museum show for @e_flux. as someone who's been frustrated by the experience of much recent art made in the name of political sympathies that i share, it was a real pleasure to spend time with work whose form is as compelling as its ideas are sensible and serious and demanding. i haven't grown quite earnest enough yet to tell anyone that they can or should "learn" from a piece of art, but i find this work useful to think with when it comes to the horrors of our own moment and maybe you will too (it's up until May)

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

twelve years ago, just about to the day, i got an email from Mark asking if i'd be interested in writing for @cinemascopemag obviously i said yes, and somehow he put up with me for another 50-some pieces running to a couple hundred thousand words, even though next to none of them were about artists any other magazine would give even a second thought to covering beyond a sentence or two. being part of the magazine has led to meeting most of my favorite people in the world, and it's probably the only reason i can begin to think of myself 'as a writer.' i can't believe that i got away with it for as long as i did. my last piece—for now, who knows, maybe there's a twist or two left yet—is on the endless and unnerving delights of @rossmeck; their tone, i think, is fitting for an end i'd rather not believe is real, and for the start of whatever i'll do as a writer without the home that at some point i just started referring to as 'the magazine'—hell, i just did it here—with full faith that anyone would know there was only one i could be referring to. a million thanks to Mark, to @brofromanotherone and @brighter_later for my foot finding its way in the door as a clueless 24-year-old, to everyone who ever made work I had the privilege of writing about; it's been one of the singular pleasures of my life.

EDIT 10/27: cancel your artforum subscription, don’t read them, don’t have a thing to do with them

it's been brought to my attention that "criticism" is "having a moment," so for my Artforum overview of this year's Currents program, i tried to do something closer to that than whatever my writing usually is.

the piece ended up mostly being about the various problems that language poses for this kind of work today, which meant that most of my favorite films in the program didn't really fit, so the heartiest possible recommendation for shorts program 4, where Ross Meckfessel's Spark From a Falling Star brings together a wide range of poetic modes into something uniquely unnerving and Luke Fowler's N'Importe Quoi (for Brunhild) is another perfect portrait; Ayo Akingbade's The Fist, one of the better labor movies in recent memory (and a deft piece of anticolonial allegory); and Blake Williams' Laberint Sequences, which ends by inventing something entirely new to do with color. Oh and sure, the Godard. images here are from two language-forward favorites, Huw Lemmey & Onyeka Igwe's Ungentle and Steve Reinke's Sundown.

anyway, as someone whose whole idea of why anyone would ever bother writing about art was shaped by half a dozen artforum pieces, it's very nice to be in these pages. link in the usual, etc.

EDIT 10/27: cancel your artforum subscription, don’t read them, don’t have a thing to do with them

it's been brought to my attention that "criticism" is "having a moment," so for my Artforum overview of this year's Currents program, i tried to do something closer to that than whatever my writing usually is.

the piece ended up mostly being about the various problems that language poses for this kind of work today, which meant that most of my favorite films in the program didn't really fit, so the heartiest possible recommendation for shorts program 4, where Ross Meckfessel's Spark From a Falling Star brings together a wide range of poetic modes into something uniquely unnerving and Luke Fowler's N'Importe Quoi (for Brunhild) is another perfect portrait; Ayo Akingbade's The Fist, one of the better labor movies in recent memory (and a deft piece of anticolonial allegory); and Blake Williams' Laberint Sequences, which ends by inventing something entirely new to do with color. Oh and sure, the Godard. images here are from two language-forward favorites, Huw Lemmey & Onyeka Igwe's Ungentle and Steve Reinke's Sundown.

anyway, as someone whose whole idea of why anyone would ever bother writing about art was shaped by half a dozen artforum pieces, it's very nice to be in these pages. link in the usual, etc.

EDIT 10/27: cancel your artforum subscription, don’t read them, don’t have a thing to do with them

it's been brought to my attention that "criticism" is "having a moment," so for my Artforum overview of this year's Currents program, i tried to do something closer to that than whatever my writing usually is.

the piece ended up mostly being about the various problems that language poses for this kind of work today, which meant that most of my favorite films in the program didn't really fit, so the heartiest possible recommendation for shorts program 4, where Ross Meckfessel's Spark From a Falling Star brings together a wide range of poetic modes into something uniquely unnerving and Luke Fowler's N'Importe Quoi (for Brunhild) is another perfect portrait; Ayo Akingbade's The Fist, one of the better labor movies in recent memory (and a deft piece of anticolonial allegory); and Blake Williams' Laberint Sequences, which ends by inventing something entirely new to do with color. Oh and sure, the Godard. images here are from two language-forward favorites, Huw Lemmey & Onyeka Igwe's Ungentle and Steve Reinke's Sundown.

anyway, as someone whose whole idea of why anyone would ever bother writing about art was shaped by half a dozen artforum pieces, it's very nice to be in these pages. link in the usual, etc.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

after 11 years, it remains as great a joy as ever to think with, around, and through Isiah Medina's films, the newest of which, He Thought He Died, premiered in Toronto a few days ago, and has its second screening later tonight. i was supposed to write 200 words and, without scratching the surface, submitted something many times longer, so it's going here (link there). if you've seen it, please consider this an open invitation to talk to me about it at your earliest convenience, thanks.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.

Rose Lowder's newest group of Bouquets, nos. 31 thru 40, just arrived this afternoon in north america, thanks to the as-always heroic efforts of @andrea_tavie and @jrcumming. if you're in toronto, possibly you're exiting the screening right now. if you're not in toronto, i hope you can see them soon. Lowder, in her humble way, is one of the two great artists of the single frame that the movies have yet produced. i was v happy to try, and to fail in good beckett fashion, to put some words to her unreal—i mean, literally, in this case—images for the new issue of @cinemascopemag, the whole of which will enter the world soon, though this piece is now online, and linked at the usual spot.