circulation
What Audiences?
In this roundtable discussion from the Art Papers Art Writing and Publishing Symposium, Daria Simone Harper, Courtney McClellan, and Emily...
Light A Fire Readings
In this series of live readings held throughout the Art Papers Art Writing and Publishing Symposium, presenters Re’al Christian, Sasha...
Be Oakley: How GenderFail’s Form Follows its Function
Be Oakley shares a behind-the-scenes look at the process and structure of GenderFail, a publishing outlet founded in 2015 that...
The Horror
How curious that Joseph Conrad’s novella Heart of Darkness (1899) is not read as a horror story, because that’s what...
Charades: A Critique of Corridor Criticism
The often tedious little melodrama of art criticism has been loath to examine its own institutional supports, while cheerily sweeping...
Essex Hemphill: Take Care of Your Blessings
Scale is often used as a metric of significance. For viewers eager to be emersed in proclamations of artistic genius,...
Idol Horrors: The Thrills and Chills of Obsession
“What’s the difference between love and obsession?” There’s a scene in Alex Russell’s film Lurker (2025) in which Oliver (Archie...
What is a Critic Now?
This essay was originally published in ART PAPERS November/Decmber 1990, Vol 14, Issue 6. What is a critic now? From...
Art and The Public
This essay was originally published in ART PAPERS November/Decmber 1990, Vol 14, Issue 6. Whatever its aesthetic or philosophical merits,...
Plantation Horror
Plantations, as we understand them, declined after Emancipation. But the plantation of the American South has endured in the cultural imagination because of its ability to relentlessly innovate. The Southern plantation—as a place, and as an idea—has become decoupled from its violent past, making it easier to commodify for public consumption.