Tatum Dooley

  • picks March 30, 2020

    Jeffrey Chong Wang

    A series of figures with slumped postures and downcast expressions fills Jeffrey Chong Wang’s exhibition “The Other Side Now.” A sharply dressed man in a business suit has his hands full with a kitten, a briefcase, and the wrist of a resigned woman, her face unreadable. In a tree hovering above them is a woman cradled by a monkey, like Ann Darrow in the clutches of King Kong. The culminating image is both sinister and fantastical.

    In each of Wang’s multi-figured paintings, no one makes eye contact; everyone is preoccupied with their own thoughts, daydreaming inside dreamlike paintings. The

  • picks January 08, 2020

    Lili Huston-Herterich

    “Pay no attention to that man behind the curtain!” demands the voice of the Wizard of Oz, after he is exposed as merely a man behind a velvet curtain. Lili Huston-Herterich’s exhibition “A Manual for Saving Head” likewise plays with the dissonance between seeing and believing, the fabrication of spectacles.

    A drawing of the show’s title, framed with a pewter-stained stretch of velvet, serves as a title card. Deeper within the gallery, a heavy red curtain hangs from the ceiling, landing just high enough off the ground to expose a pair of boots—made largely of lost gloves and socks—on the other

  • books May 10, 2019

    Ask Me, Ask Me, Ask Me

    The vibrant Toronto-based magazine Impulse ran from 1971 to 1990 and focused on primary texts from cultural creators, such as Kathy Acker, Patti Smith, Joyce Wieland, and Dennis Oppenheim. In the case of nonvisual artists, these appeared in the form of interviews. Impulse[b]—a publishing house that serves as a conceptual continuation of Impulse—recently published a facsimile anthology of Impulse interviews, including discussions with Sylvère Lotringer, Blondie, Paul Virilio, Michel Foucault, and Wim Wenders. Below, Tatum Dooley speaks with Eldon Garnet—the former editor of Impulse—about the art

  • architecture January 29, 2019

    Arch Forum

    A LINE OF PEOPLE WAITING TO ENTER the Grace Rainey Rogers Auditorium at the Metropolitan Museum of Art snaked its way through the Egyptian wing, holding steady for the entire day on January 19. The hope was that those lucky enough to secure entrance to the third edition of “In Our Time: A Year of Architecture in a Day” would abandon their seats, allowing those in line to fill them. This urgency was echoed inside the auditorium, wherein there was a fear of not being able to leave your spot even momentarily lest an usher give it away. Who knew there was such a demand for critical dialogue around