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work types: essay

  • Financial Abstraction
    2021

    Ten years ago, a group of occupiers rode the subway from Zuccotti park to MoMA, where we held a small but obstructive assembly in front of the museum. Shouting through the “people’s mic,” we compared MoMA to the ratings agencies which had awarded AAA s …

    Continue reading “Financial Abstraction”

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  • Breach2
    “Why The Art World Needs Populism”
    2021

    https://hyperallergic.com/615843/why-the-art-world-needs-populism/

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  • Personal Essay: Art and the Shame Economy
    2019

    This essay published in Out of Place: Artists, Pedagogy, and Purpose, edited by Tim Doud and Zoë Charlton. Art is not a practical career and people generally know this. One who takes it up ought to eventually make peace with this fact but that’s not me …

    Continue reading “Personal Essay: Art and the Shame Economy”

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  • Public Seminar: Artist-as-debtor, Debt-as-Creator The unseen debt sustaining the art market
    2019

    https://publicseminar.org/2019/04/artist-as-debtor-debt-as-creator/ This article is part of a series of texts published on Public Seminar in the lead-up to the Digital/Debt/Empire symposium in Vancouver in late April 2019, convened by Benjamin Anderson, Enda Brophy and Max Haiven.

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  • Contribution to Monuments Issue, October Magazine
    2018

    The bronze public monuments built to cut through time as Shackleton’s Endurance was built to cut through arctic ice are arriving in our present moment as anachronistic vessels. Whether appropriate or not, they refuse to budge from public space.

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  • The Silent Red Thing: Essay in ASAP journal
    2018

    I can’t forget the puzzling silence of Mark di Suvero…(read full essay in pdf)

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  • The Ebbs and Flows of Resistance in the Art World
    2018

    Pulished in Hyperallergic:  

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  • Hyperallergic: Why the Art World Must Not Normalize Donald Trump’s Presidency
    2016

    Read on Hyperallergic

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  • “Agency in a Zoo: The Occupy Movement’s Strategic Expansion to Art Institutions” in Field Journal
    2015

    http://field-journal.com/issue-2/fischer Part 1: Introduction

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  • The Dark Arts
    2015

    Imagine that you are in your studio, or at the desk of the office where you work, or in the classroom where you study. You are temporarily lost in thought about your creative process, thinking about what you will work on next, trying to make something of value. But how do you settle on a system that constitutes quality? How do you reconcile your own vision with the jury of institutional gatekeepers who curate artistic quality and keep score on your art practice?

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  • Screen shot 2014-09-05 at 2
    A Global Debt Museum in publication “To the Square2”
    2014

    http://issuu.com/ivorstodolsky/docs/tsq2_newspaper_hr

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  • image005
    “The Occupied Museum” in Artleaks Gazette
    2014

    Artleaks Gazette, the yearly magazine of the international art organizing site Artleaks has published an essay which finds new connections in my artistic/poltical practice of the last years from Occupy Museums through GULF. Comments on the 7th Berlin Biennale by Artur Zmijewski.  You can read the Gazette here PDF of article here

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  • Shut It Down: Thoughts on the OWS-Tea Party Comparison
    2013

    Occupywallst.net

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  • Where is Occupy Now? for ArtFCity
    2013

    http://artfcity.com/2013/06/07/where-is-occupy-now/ Where is Occupy Now?June 1, 2013.  Answer:Turkey.

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  • “Lotus Petals” for the Brooklyn Rail
    2013

    This came just came out in February issue of Brooklyn Rail, guest edited by Martha Schwendener.  http://www.brooklynrail.org/2013/02/artseen/lotus-petals

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  • Dear Jerusalem
    2013
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  • Random Randal
    2012
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  • Response to the 7th Berlin Biennale
    2012

      http://www.berlinbiennale.de/blog/en/allgemein-en/an-open-letter-to-occupybiennale-31367

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  • Woman-with-coin
    Occupying Tension-Inquiring Mind
    2012
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  • Trauma, the Subway, and the Voice (for M/E/A/N/I/N/G)
    2011
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  • Zen & the Art of American Revolution
    2011

    I smelled manifesto when Brian Unger asked me to write “some kind of aesthetic-philosophical commentary on Zen art in America” for this issue of Zen Monster.  It is a daunting subject, but I had actually been waiting for someone to request this.

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  • art21
    Art21 Blog
    2009

    read the article here  

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  • Crowds in B&W
    2004

    I went to all of the large anti-war protests in New York City between 2002 and 2004 and always brought a camera. But it never worked. The pictures produced by my father’s black Ricoh were neither fuzzy nor pointing in the wrong direction – yet, even worse, they were not even photographs. Later I realized that my snapshots had been nullified by powerful forces emanating from the center of the crowd. So I put down my camera and set out to take a photograph of the crowd.

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