Momus

Momus is a digital art magazine that champions the revival of thoughtful art criticism. It aims to be evaluative, responsible, and courageous, offering a refreshing alternative to the extremes of elitism and populism that dominate much of today's dialogue. Over its initial four years, Momus has fostered a sense of skepticism that avoids cynicism, promotes accessibility without talking down to its audience, and encourages a deeper engagement with cultural works from both artistic and political perspectives. As a publication, it commits to the essential, challenging task of art criticism during a period when such analysis is often lacking.

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A Punk-Rock Polyglot: The Subversive Riffing of Carole Caroompas

3 weeks ago | momus.ca | Paula Mejia

The late artist Carole Caroompas was once asked why rock and roll provided such generative source material for her paintings and performance art. Caroompas had frequented shows since her teenage years and played music when she wasn’t making art, yet her fascinations didn’t necessarily lie in the minutiae of chord progressions. Caroompas was beguiled by the way the genre both reaffirmed and eschewed the gendered tensions of heterosexual relationships.
Paula Mejia, Author at Momus

3 weeks ago | momus.ca | Paula Mejia

The late artist Carole Caroompas was once asked why rock and roll provided such generative source material for her paintings and performance art. Caroompas…
The High Stakes of Nancy Holt’s Systems

1 month ago | momus.ca | Cat Kron

Systems call to mind the grandiose, sweeping, and entrenched, for better or worse. Systems of belief, systems theory, the prison system … By comparison, Nancy Holt’s Systems Works, a body of sculptural installations made between 1981 and 1992, are decidedly humble and pointedly unfixed, mutable.
Cat Kron, Author at Momus

1 month ago | momus.ca | Cat Kron

Systems call to mind the grandiose, sweeping, and entrenched, for better or worse. Systems of belief, systems theory, the prison system … By comparison,…
We Are the Same Thing: The Sutured Selves of María Magdalena Campos-Pons

1 month ago | momus.ca | Allison Noelle Conner

For the past few weeks, I’ve been mulling over an image from a single-channel video by interdisciplinary artist María Magdalena Campos-Pons. In Baño Sagrado (Rite of Initiation, Sacred Bath) (1991), an extreme close-up of a bare stomach, brown and downy, occupies most of the wall it is projected onto. Soil scatters across its surface and a single root seems to be growing from the figure’s navel, creating a visual rhyme between skin and earth.
Lineage and Light: Rose Marie Cromwell’s “A Geological Survey”

Feb 27, 2025 | momus.ca | Monica Uszerowicz

In what ways is a mother like a tree? A mother—a caregiver, really, because lineages are built not merely by blood and biology but with tenderness and with time—nourishes and guards and shades the ones they love. Whether or not the “mother tree” theory is factual, the phenomenon of family is not specific to humans. A tree’s roots extend toward its kin, cultivating a clan of earth-tenders.
Monica Uszerowicz

Feb 27, 2025 | momus.ca | Monica Uszerowicz

In what ways is a mother like a tree? A mother—a caregiver, really, because lineages are built not merely by blood and biology but…
Alexandra Méndez García

Feb 21, 2025 | momus.ca | Alexandra Garcia

For five months I lived with open windows in a suburb of San Juan, air ventilating through my apartment on days of both intense…
Disposability, Divestment, and Action: The Palestinian Solidarity Movement and the State of Art in Toronto

Feb 5, 2025 | momus.ca | Tiana Reid

What’s left of art in Toronto? Since November 2023, four curators no longer hold their positions at contemporary art institutions in Toronto. Anishinaabe curator Wanda Nanibush’s “departure,” as the Globe and Mail put it, from the Art Gallery of Ontario (AGO) that month was followed several weeks later by the resignation of Inuk curator Taqralik Partridge from the same institution. Their exits left the AGO with neither an Indigenous curator nor a specialist in Indigenous art.
Disposability, Divestment, and Action: The Palestine Solidarity Movement and the State of Art in Toronto

Feb 5, 2025 | momus.ca | Tiana Reid

What was the problem? I didn’t know and nobody told me and whatcould I do or say, anyway? Yes, I did know it was the money I earned as a poet thatpaidfor the bombs and the planes and the tanksthat they used to massacre your family—June Jordan, “Apologies to All the People in Lebanon”What’s left of art in Toronto? Since November 2023, four curators no longer hold their positions at contemporary art institutions in Toronto.