{"id":7,"date":"2019-08-29T13:57:24","date_gmt":"2019-08-29T13:57:24","guid":{"rendered":"http:\/\/jonahgoldmankay.com\/?page_id=7"},"modified":"2026-02-04T19:55:46","modified_gmt":"2026-02-04T19:55:46","slug":"writing","status":"publish","type":"page","link":"https:\/\/jonahgoldmankay.com\/index.php\/writing\/","title":{"rendered":"archive"},"content":{"rendered":"\n

essays, reviews<\/strong>, and interviews<\/h3>\n\n\n\n
\n\n\n\n

Sophie Calle\u2019s ‘Catalogue Raisonn\u00e9 of the Unfinished’, The Brooklyn Rail <\/em>(2026)<\/p>\n\n\n\n

Picturing the self<\/a>, Burlington Contemporary <\/em>(2025)<\/p>\n\n\n\n

Joanne Piotrowska<\/a>, BOMB<\/em> (2024)<\/p>\n\n\n\n

Siobhan Liddell<\/a>, Artforum<\/em> (2023)<\/p>\n\n\n\n

Alfredo Jaar<\/a>, Artforum <\/em>(2023)<\/p>\n\n\n\n

Diego Marcon<\/a>, Artforum <\/em>(2023)<\/p>\n\n\n\n

Julian Opie<\/a>, Outland<\/em> (2023)<\/p>\n\n\n\n

Stephen Shore<\/a>, Frieze<\/em> (2023)<\/p>\n\n\n\n

Interconnected Solitude (interview with Emmanuel Van Der Auwera)<\/a>, BOMB<\/em> (2023)<\/p>\n\n\n\n

Lawrence Abu Hamdan<\/a>, Artforum<\/em> (2023)<\/p>\n\n\n\n

Joanna Piotrowska & Formafantasma<\/a>, Artforum.com <\/em>(2022)<\/p>\n\n\n\n

Biennale Matter of Art<\/a>, Artforum <\/em>(2022)<\/p>\n\n\n\n

Burn Out (Damien Hirst review)<\/a>, Outland<\/em> (2022)<\/p>\n\n\n\n

Kutlug Ataman<\/a>, Artforum<\/em> (2022)<\/p>\n\n\n\n

What Can We Learn from the History of Sleep?<\/a>, Hyperallergic<\/em> (2022)<\/p>\n\n\n\n

What do British Jews look like?<\/a>, JTA <\/em>(2022)<\/p>\n\n\n\n

The Rights of Trees (interview with Cooking Sections)<\/a>, BOMB<\/em> (2022)<\/p>\n\n\n\n

Florida Gothic (interview with Ana Samoylova)<\/span><\/a>, The Bitter Southerner <\/em>(2022) (reprinted in the Photo London Magazine<\/a>)<\/p>\n\n\n\n

Weird Sensations (interview with James Taylor-Foster)<\/a>, Dirt<\/em> (2022)<\/p>\n\n\n\n

Kira Freije<\/a>, Artforum<\/em>.com (2022)<\/p>\n\n\n\n

Post-Digital Intimacy<\/a>, Artforum.com <\/em>(2022)<\/p>\n\n\n\n

Robert Nava<\/a>, Artforum<\/em>.com (2022)<\/p>\n\n\n\n

Simon Linke<\/a>, Artforum.com <\/em>(2022)<\/p>\n\n\n\n

Davide Balula<\/a>, Artforum.com <\/em>(2022)<\/p>\n\n\n\n

Turning Theory Into Art<\/a>, The Nation<\/em> (2022)<\/p>\n\n\n\n

Tim Maul<\/a>, Artforum<\/em>.com (2022)<\/p>\n\n\n\n

Vlatka Horvat<\/a>, Artforum<\/em>.com (2022)<\/p>\n\n\n\n

Petal Pusher<\/a> (review of Sarah Meyohas exhibition), Dirt<\/em> (2022)<\/p>\n\n\n\n

How Long Is the Shadow of Jim Crow?<\/a>, The Los Angeles Review of Books<\/em> (2022)<\/p>\n\n\n\n

The Wayland Rudd Collection<\/a>, The Brooklyn Rail<\/em> (2022)<\/p>\n\n\n\n

Mona Ardeleanu<\/a>, Artforum.com<\/em> (2021)<\/p>\n\n\n\n

Why James Bond Villains Prefer Post-Soviet Architecture<\/a>, JStor Daily<\/em> (2021)<\/p>\n\n\n\n

Vertical Village<\/a>, The Brooklyn Rail<\/em> (2021) <\/p>\n\n\n\n

\u2018A feminist in my own way:\u2019 Romanian writer Magda C\u00e2rneci on her novel FEM<\/a>, Calvert Journal<\/em> (2021)<\/p>\n\n\n\n

These Photographers Stunningly Capture Climate Change<\/a>, Art & Object (2021)<\/p>\n\n\n\n

The Traffic In Images<\/a>, The Los Angeles Review of Books<\/em> (2021)<\/p>\n\n\n\n

Must-Sees at The Armory Show & Beyond This Fall<\/a>, Art & Object (2021)<\/p>\n\n\n\n

The Light in Istanbul: On Orhan Pamuk\u2019s \u201cOrange\u201d<\/a>, The Los Angeles Review of Books<\/em><\/em> (2020)<\/p>\n\n\n\n

Our Interminable Election Eve<\/a>, The Paris Review<\/em> (2020)<\/p>\n\n\n\n

Interview: Shamel Pitts and Itai Zwecker<\/a>, The Brooklyn Rail<\/em> (2020)<\/p>\n\n\n\n

Why it\u2019s time to talk about Borat\u2019s Roma problem<\/a>, The Calvert Journal<\/em> (2020)<\/p>\n\n\n\n

The Evolution of Instagram Art,<\/a> Hyperallergic<\/em> (2020)<\/p>\n\n\n\n

Interview: Alicja Kwade<\/a>, Artforum<\/em>.com (2020)<\/p>\n\n\n\n

The Outwardness of Art<\/em> by Adrian Stokes<\/a>, The Brooklyn Rail<\/em> (2020)<\/p>\n\n\n\n

Interview: Eva Ko\u0165\u00e1tkov\u00e1<\/a>, Artforum<\/em>.com (2020)<\/p>\n\n\n\n

Basma Alsharif<\/a>, Artforum<\/em>.com (2020)<\/p>\n\n\n\n

David Adika<\/a>, Artforum<\/em>.com (2020)<\/p>\n\n\n\n

Shahidul Alam\u2019s Firsthand Account of Bangladesh\u2019s Fight for Democracy<\/a>, Hyperallergic<\/em> (2020)<\/p>\n\n\n\n

In Sienese Paintings a Writer Finds Sanctuaries that Allow Him to Grieve<\/a>, Hyperallergic<\/em> (2020)<\/p>\n\n\n\n

An Unlikely Scottish Archive Sheds Light on Romanian Art During Socialism<\/a>, Hyperallergic<\/em> (2020)<\/p>\n\n\n\n

Olivia Mih\u0103lt\u0326ianu<\/a>, Artforum<\/em>.com (2019)<\/p>\n\n\n\n

Revitalizing the Culture of Palestinian Food<\/a>, Hyperallergic<\/em> (2019)<\/p>\n\n\n\n

<\/div>\n\n\n\n

features<\/strong><\/h3>\n\n\n\n
\n\n\n\n

New Arts Center Aims to Put Sicily Back on the Art World Map<\/a>, Hyperallergic<\/em> (2022)<\/p>\n\n\n\n

Prague\u2019s First Private Museum Is Haunted by the Specter of Communism<\/a>, Hyperallergic<\/em> (2022)<\/p>\n\n\n\n

Impossible’s Pork Problem<\/a>, The Counter<\/em> (2022)<\/p>\n\n\n\n

Is \u2018The Books of Jacob’ a Jewish novel?<\/a>, JTA <\/em>(2022)<\/p>\n\n\n\n

A musician\u2019s project sheds new light on artistic life in the Terez\u00edn concentration camp<\/a>, JTA<\/em> (2022)<\/p>\n\n\n\n

A Wary New Orleans Braces for a New Tech Boom<\/a>, CityLab<\/em> (2021)<\/p>\n\n\n\n

A dilapidated Bulgarian synagogue will become a lifeline for the Jewish community<\/a>, JTA <\/em>(2021)<\/p>\n\n\n\n

The Katrina survivors who fled devastation only to freeze in Texas<\/a>, The Guardian<\/em> (2021)<\/p>\n\n\n\n

A new museum in New Orleans puts the family histories of Southern Jews on display<\/a>, JTA <\/em>(2021)<\/p>\n\n\n\n

How the New Orleans Streetcar Revival Left Bus Riders Behind<\/a>, CityLab<\/em> (2021)<\/p>\n\n\n\n

The Fight for Fair Pay Must Include Independent Contractors<\/a>, TalkPoverty<\/em> (2021)<\/p>\n\n\n\n

Groups across the South are working to fix a broken farm labor system<\/a>, Facing South<\/em> (2021)<\/p>\n\n\n\n

Florida’s Democratic Party is having an identity crisis<\/a>, Business Insider<\/em> (2021)<\/p>\n\n\n\n

Candidates with no party affiliation change the outcomes of Florida races<\/a>, Business Insider <\/em>(2020)<\/p>\n\n\n\n

“Getting Your Rights Back Feels Tremendous:” Going to the Polls with Florida’s Former Felons<\/a>, Business Insider<\/em> (2020)<\/p>\n\n\n\n

Florida is voting on whether to raise the minimum wage<\/a>, Business Insider <\/em>(2020)<\/p>\n\n\n\n

The Trump-supporting retirement community that’s now voting for Biden<\/a>, Business Insider <\/em>(2020)<\/p>\n\n\n\n

Dark money ballot measures could make it harder to pass amendments in FL<\/a>, Business Insider<\/em> (2020)<\/p>\n\n\n\n

The Lethal Inequality on American Farms<\/a>, The New Republic<\/em> (2020)<\/p>\n\n\n\n

In the Wake of Disaster in Southwest Louisiana, the DSA Offers Mutual Aid<\/a>, Protean<\/em> (2020)<\/p>\n\n\n\n

Coronavirus pushes Bulgaria\u2019s Roma further into the shadows<\/a>, Politico Europe<\/em> (2020)<\/p>\n\n\n\n

Bulgarian Folk-Popstar Azis Enters a New Era<\/a>, PAPER Magazine<\/em> (2020)<\/p>\n\n\n\n

Risking Death for Tomatoes<\/a>, The Bitter Southerner<\/em> (2020)<\/p>\n","protected":false},"excerpt":{"rendered":"

essays, reviews, and interviews Sophie Calle\u2019s ‘Catalogue Raisonn\u00e9 of the Unfinished’, The Brooklyn Rail (2026) Picturing the self, Burlington Contemporary (2025) Joanne Piotrowska, BOMB (2024) Siobhan Liddell, Artforum (2023) Alfredo Jaar, Artforum (2023) Diego Marcon, Artforum (2023) Julian Opie, Outland (2023) Stephen Shore, Frieze (2023) Interconnected Solitude (interview with Emmanuel Van Der Auwera), BOMB (2023) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-7","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/jonahgoldmankay.com\/index.php\/wp-json\/wp\/v2\/pages\/7","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jonahgoldmankay.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/jonahgoldmankay.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/jonahgoldmankay.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jonahgoldmankay.com\/index.php\/wp-json\/wp\/v2\/comments?post=7"}],"version-history":[{"count":62,"href":"https:\/\/jonahgoldmankay.com\/index.php\/wp-json\/wp\/v2\/pages\/7\/revisions"}],"predecessor-version":[{"id":342,"href":"https:\/\/jonahgoldmankay.com\/index.php\/wp-json\/wp\/v2\/pages\/7\/revisions\/342"}],"wp:attachment":[{"href":"https:\/\/jonahgoldmankay.com\/index.php\/wp-json\/wp\/v2\/media?parent=7"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}