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Interviews and Profiles


‘All Sorts of Sorrows’: Processing Pandemic Loss in the (Virtual) Gallery (C Magazine, 2022)

Margaux Williamson’s Unruly Works From Home (Artforum, 2022)

Pyschic Landscapes: The World of Nicolas Party (NUVO, 2022)

“Refusing the Grammar of Romantic Love”: Rosie Stockton Interviewed by Esmé Hogeveen (BOMB, 2021)

“Closure Exists When We Accept Ambiguity”: Hand Habits [Meg Duffy] Interviewed by Esmé Hogeveen (BOMB, 2021)

The Temporality of Emancipation is Always in the Future: Interview with Alex Quicho, author of ‘Small Gods’ (Carhartt WIP Magazine, 2021)

Taking Notes: Mozhdeh Matin (100% Silk Journal collab, 2021)

Taking Notes: Cason Sharpe (100% Silk Journal collab, 2021)

Taking Notes: Julia Heuer (100% Silk Journal collab, 2021)

In “Happy Hour,” Women Get What They Want, an interview with Marlowe Granados (GARAGE, 2021)

Filming Philosophy: A Conversation With Astra Taylor (Another Gaze, 2020) 
*This interview was first published in Another Gaze 03

Look But Don’t Touch: Objects and Digital Design During the Pandemic, an Interview with V&A Curator Natalie Kane (GARAGE, 2020) 

“In Isolation, Everything Has More Meaning”: An Interview with Ottessa Moshfegh (Hazlitt, 2020)

“Perhaps Utopias Have to be Temporary”: An Interview with McKenzie Wark (Hazlitt, 2020)

Making Us Look: Filmmaker Charles Officer on Documentary Making, Silent Films, and Canada 150 (C Magazine, Issue 135, 2017)



Essays

Pandemic Objects: Al Fresco (Victoria & Albert Museum, 2021)

Going Medieval on Your Gram: Blackletter fonts find new life on politicized social media (The Baffler, 2021)

Time Brilliantly Wasted: Esmé Hogeveen on Eileen Myles’ “For Now” (Texte zur Kunst, 2020)

A Pierrot for the Present: Living in a Constant State of Laugh-Cry (GARAGE, 2020)

All Together Now: Stylish Company in “Little Women” (GARAGE 2020)

Tell Us What You Really Think: A Survey on the Landscape of Canadian Art Criticism, co-edited with Emma Sharpe (C Magazine, Issue 145, 2020)

The Limits of Self Representation: A Conversation on Beatrice Gibson’s “Plural Dreams of Social Life," co-written with Katie Connell (BlackFlash, 2020)

2019 Flashbacks: Delights and Despairs — A Year in Review, co-written with Katie Connell (Public Parking, 2020)

AliSmithFan1990: Esmé Hogeveen on Reading, Ali Smith, and “Spring” (OSSA Magazine, 2019)

In “I Capture the Castle,” the Stepmother Archetype Gets a Bohemian Makeover (GARAGE, 2019) 

Catalogue Essay: “Whale Fall,” Nurielle Stern and Nicholas Cronach (The Museum of Clay and Glass, 2019)

Apparently, & also shellac — Krista Buecking exhibition text (Susan Hobbs Gallery, 2019)

Which of Hundreds of Selves?: Josephine Decker’s Coming of Age Trilogy (Another Gaze, 2019)

S T R E T C H — Kim Neudorf exhibition text (Franz Kaka Gallery, 2017)

All the Bland Dudes: The Dubious Ethics of Normcore (CRIT, vol. II, 2014)



Criticism


Jacquelyn Mills’ “Geographies of Solitude” — Editor’s Choice (BOMB, 2022)

Philippa Snow on the Strains of Violence in Culture (Frieze, 2022)

Revising the First Draft of the World: On Sheila Heti’s “Pure Colour” (Los Angeles Review of Books, 2022)

What Is Normal? Looking Back Series: Music (BOMB, 2021) 

Amber Husain on How the Collective Can Counter Neoliberalism (Frieze, 2021)

Finding Meaning in Dire Times: Sally Rooney’s “Beautiful World, Where Are You” (Los Angeles Review of Books, 2021)

Alex Quicho’s “Small Gods” (BOMB, 2021)

Joel Meyerowitz’s “Wild Flowers” Is a Reminder That the World Is Still Blooming (Hyperallergic, 2021)

Artful Volumes: “Catherine Opie,” Phaidon 2021 (Bookforum, 2021)

Seeing, And Seeing Through, Art History: The Resurrection Of Hilma af Klint In “Beyond The Visible” (Halina Dyrschka, 2019) (Another Gaze, 2020)

Critic’s Pick: Jennifer Rose Sciarrino’s “for Swan” (Artforum, 2020)

A Rich and Revitalizing Legacy: Ephraim Asili’s “The Inheritance” — TIFF 2020 (The Brooklyn Rail, 2020)

Broad Horizons And Shallow Vistas In Chloé Zhao’s “Nomadland” —TIFF 2020 (Another Gaze, 2020)

Skins, Containing, and Being Contained: Laurie Kang’s Her Own Devices (The Brooklyn Rail, 2020)

Critic’s Pick: Spring Hurlbut’s “Dyadic Circles” (Artforum 2020)

Kazik Radwanski’s “Anne at 13,000 ft” (BOMB, 2020)

News From Prescient Yesterdays: A tripartite reflection on London’s social housing in Ayo Akingbade’s “No News Today” (The Brooklyn Rail, 2020) 

Rosanna McLaughlin’s “Double Tracking: Studies in Duplicity” (The Brooklyn Rail, 2020)

Between Here and the Stratosphere: Tiziana La Melia and geetha thurairajah’s “Ozone Gleaners” (The Editorial Mag, 2020)

Age of Who?: The Foibles of Celebrity Curation in MOCA Toronto’s “Age of You” (The Brooklyn Rail, 2020)

Critic’s Pick: Eric N. Mack’s “Dye Lens” (Artforum, 2020)

Rajni Perera: “Traveller” (The Brooklyn Rail, 2020)

Intimacy, Distance and Detail in Ute Aurand’s “Rasendes Grün Mit Pferden” (“Rushing Green with Horses”) (Another Gaze, 2019)

Bambitchell: “Bugs and Beasts Before the Law” (The Brooklyn Rail, 2019)

At MASS MoCA, Cauleen Smith Builds an Afrofuturist World (Frieze, 2019)

Critic’s Pick: Kara Hamilton’s “Water in Two Colours” (Artforum 2019)

Surveying The Demos: Reviving Civic Dialogue in Astra Taylor’s “What Is Democracy?” (The Brooklyn Rail, 2019)

Sickness and Strength: The Golem as Diva in Chloë Lum and Yannick Desranleau’s “What Do Stones Smell Like in the Forest?” (cléo film journal, 2019)

“Medicine for a Nightmare,” Nep Sidhu at Mercer Union (Border Crossings, 2019)

“Mapping Worlds,” Shuvinai Ashoona at the Power Plant (Inuit Art Quarterly, 2019)

“Everyone Else”: Showcasing Maren Ade’s Pre-”Toni Erdmann” Wit (cléo film journal, 2019)

Marlon Kroll at Parisian Laundry (Canadian Art, 2019)

“Chloë Lum and Yannick Desranleau” at the Musée d’art contemporain de Montréal (Canadian Art, 2019) 

“Jordan River Anderson, The Messenger” — Alanis Obomsawin’s Canadian Wake-Up Call at TIFF (Another Gaze, 2019)

“The Body Remembers When the World Broke Open,” by Elle-Máijá Tailfeathers and Kathleen Hepburn — TIFF (Another Gaze, 2019)

Replete and Incomplete Portraits: Documentaries at TIFF 2020 (The Brooklyn Rail, 2019) 

“Hans Ulrich Obrist Hear Us,” by Bill Burns (The Art Book Review, 2019)

“Some Trick,” by Helen DeWitt (C Magazine, Issue 140, 2019)

Speaking and Recording and Broadcasting Their Truths: Callisto McNulty’s “Delphine et Carole” — Berlinale 2019 (The Brooklyn Rail, 2019)

Review: “Notes to Self” by Christina Battle — Part of Forum Expanded, Berlinale (Another Gaze, 2019) 

“RAVE: Rave and its Influence on Art,” by Nav Haq (C Magazine, Issue 134, 2019)

Staging Xenophobia: The Legacy of German Iconoclast Christoph Schlingensief (The Brooklyn Rail, 2018)

“Is Toronto Burning?: Three Years in the Making and Unmaking of the Toronto Art Scene,” by Philip Monk (PUBLIC, 2017)

“Talk,” by Linda Rosenkrantz (C Magazine, Issue 129, 2016)