Muscular Sanity: The Language of Pain in Literature
Writing about pain can be an afflictive undertaking unto itself.
(The Los Angeles Review of Books)

Castello Ruspoli
Summer at a 16th century Italian castle


Carolee Schneemann
On her career, emancipatory vision for painting and performance, and cats
(King Kong Magazine)

Chris Kraus
“Simone Weil wrote somewhere, ‘always do what will cost you the most.’”
(Document Journal)

Geoff Dyer
If you haven’t a sense of humor, don’t speak to Geoff Dyer. Or read his books.
(Document Journal)

Iris Apfel
On geriatric style and never retiring
(Cultured Magazine)

Miranda July
“What if we all just stopped trying, as a group, forever?”
(Flaunt Magazine)


Forsythe's Choreographic Objects
What else, besides the body, could physical thinking look like?
(Flash Art)

Ella Kruglyanskaya on Womanhood, Painting, and Elena Ferrante
Kruglyanskaya’s work masterfully blends humor and emotional communicability
(Cultured Magazine)

Sophie Calle at Musée de la Chasse et de la Nature
Artist as hunter of stories, men, and experiences
(Artillery Magazine)

Louise Bourgeois: An Unfolding Portrait at MoMA
“The subject of pain is the business I am in.”
(Artillery Magazine)

Chris Kraus’ In Order to Pass: Films from 1982-1995 at Chateau Shatto
Theory as performative gesture, not sermonic truth
(Artillery Magazine)

Roselee Goldberg on Performa
“The performance art world is the art world.”
(Flaunt Magazine)

Audrey Wollen’s Feminist Instagram World
“if u look at paintings of girls and replace each mirror w/an iPhone in yr head, u will realize that nothing has ever been different.”
(Artillery Magazine)

Melanie Pullen: Pictures of Passion
“I’m taking these real, horrific scenes and playing them up like we do in the news.”
(Artillery Magazine)

Jemima Stehli on Art, Objectification, and the Body
Stehli explores the phenomenological aspects of the artist becoming an object
(Perfect Number Mag)


Writing Without a Face: On Elena Ferrante's Frantumaglia
The real Elena Ferrante is, quite explicitly, a fiction.
(The Millions)

The Strange, Irreverent World of Leonora Carrington
Carrington probes the Surrealist female-madness narrative
(The Los Angeles Review of Books)

Suite for Barbara Loden by Nathalie Léger
A writer embarks on a Sebald-esque quest to know the late filmmaker
(The Los Angeles Review of Books)


American Ballet Theatre's Giselle
To see Giselle at ABT is to see a reliable, sturdy performance, steeped in longevity. 

American Ballet Theatre's La Bayadère
Can a convincing case can be made for keeping La Bayadère in the repertoire?


A Brief Chronicle of Camp in Fashion
Chateau Marmont laundry bags, co-opted worker aesthetics, the Vetements-Balenciaga complex
(Perfect Number Mag)