Wendy Vogel writes about how sexual politics intersects with those of race, class, and disability. She will write about how contemporary art and performance works can be read against the recent #metoo movement to expose perpetrators of sexual violence and to explore how the art world, in particular, has quietly upheld patriarchal norms and protected violent men from harm, even as it flaunts its liberal/libertine politics. She plans to write about practices sidelined over the last half-century that address sexuality, sexual violence, and/or femme aesthetics, and about the current impact of #metoo on various practices, from art to confessional modes of comedy to film.

Wendy Vogel is an art critic and independent curator based in Brooklyn. She received a BA from New York University and an MA from the Center for Curatorial Studies at Bard College, and she was a critical fellow in the Core Program residency at the Museum of Fine Arts Houston. A former editor at Flash Art International, Modern Painters, and Art in America, Vogel has contributed to Artforum, art-agenda, the Art Newspaper, Art Review, BOMB, the Brooklyn Rail, frieze, the Guardian, and Mousse, among other publications. In collaboration with the artist Peter Halley, she edited a history of the New York-based magazine index titled index A to Z: Art, Design, Fashion, Film, and Music in the Idie Era (Rizzoli, 2014). She has written catalogue essays about Kiki Kogelnik, Lotte Konow Lund, and Allison Smith, and has curated projects at venues including the Hessel Museum of Art at Bard College, the Künstlerhaus Schloss Balmoral, the Kitchen, the Abrons Arts Center, VOLTA Art Fair, Baxter St at the Camera Club of New York, and bitforms.