Season 9 of Momus: The Podcast launches with Luther Konadu, an artist and publisher based in Winnipeg, Manitoba. Reading from an influential book in his practice—The Narrow Door (Graywolf Press, 2016), subtitled “A Memoir of Friendship,” by Paul Lisicky—Konadu speaks with Sky Goodden about the intricacies, influences, and productive frictions of working with your friends. “I think because we've known each other [a long time], any kind of criticism that can come our way is seen as a sign of love… holding each other ahead of time before we step into the world.”

As the publisher of Public Parking and co-founding publisher of Carnation, Konadu also reflects on the pressures and rewards of producing art publications that respond to a regional context while operating within an international discourse—reaching beyond borders and speaking to diaspora. Threading that needle, alongside an art practice that features and involves members of his community, requires clarity, care, and a commitment to honesty. “I think maybe that's part of what attracted me to Paul's work. The very notion of talking about friendship in a book-length form is a way of talking about something that isn't talked about.”

Momus: The Podcast is edited by Jacob Irish, with production assistance from Chris Andrews.

Thanks to Luther Konadu for his contribution to this season.

Tune in to a special bonus episode of Momus: The Podcast featuring a live recording from the launch of writer and critic Minh Nguyen’s new book Memorial Park: Revisiting Vietnam (Art Metropole & Wendy’s Subway, 2025). This event, co-presented by Art Metropole and Momus as part of the Momus Talks series, brought Nguyen into conversation with writer Tiana Reid to discuss writing about place, the personal as critical position, and how art criticism can open up broader cultural histories and experiences by “using art to write about something else.” More about the book from Wendy’s Subway: “Driven by a diasporic curiosity that seeks discovery over dwelling on loss, Memorial Park avoids nostalgic idealism or reflexive condemnation. Instead, Nguyen takes seriously the legacy of Vietnamese liberation by naming what it has become—and what it has not. What emerges is a complex picture of the country today and a reflection on how we inherit and reckon with radical histories that shape our world.”

Momus: The Podcast is edited by Jacob Irish, with production assistance from Rose Bouthillier and Chris Andrews.

Thanks to this episode’s sponsor Rabkin Foundation for supporting our work.

Thanks to Minh Nguyen and Tiana Reid for their contribution to this season.

Lucy Sante joins us for the finale of Season 8. The Belgian-born American critic, writer, and artist talks about her lifelong textual engagement with an extraordinary miscellany of culture and history. Sante shares the figures that have shaped her work, from a grade-school report on Nostradamus to Barbara Epstein, her editor at the New York Review of Books, to her various writing students across twenty years of teaching at Columbia and Bard. For her “meaningful text,” Sante focuses on Manny Farber, an early inspiration whose writing "infected me from the word go." She reads from his essay “White Elephant Art vs. Termite Art” (Film Culture, No. 27, Winter 1962/63), an electric ode to "termite tapeworm-fungus-moss art ... that goes always forward eating its own boundaries."

Momus: The Podcast is edited by Jacob Irish, with production assistance from Chris Andrews.

Thanks to this episode’s sponsors, Rabkin Foundation, PHI, and Esker Foundation, for supporting our work.

Thanks to Lucy Sante for her contribution to this season.

In the season’s penultimate episode, we feature Andrii Ushytskyi, a Kyiv-based writer, dancer, and co-editor of Solomiya, an independent magazine founded in response to Russia’s full-scale invasion of Ukraine. Ushytskyi begins by reading a short essay by Natalia Ginzburg, “The Son of Man” (Unita, 1946), and then speaks with Sky Goodden about his editorial arc and the responsiveness and faith that stewarding a publication—and writing—through a war has required. He also speaks to how the invasion has changed the nature of his writing, and how, for Ushytskyi, dance has emerged as a form of kinesthetic expression and release.

Thanks to this episode’s sponsors, Rabkin Foundation and Art Toronto, for supporting our work.

Thanks to Andrii Ushytskyi for his contribution to this season.

And our many thanks to Jacob Irish, our editor, and Chris Andrews, for production assistance.

This special summer episode includes a live recording of the Spring issue of Post/doc, co-published by Momus and the Vera List Center for Art and Politics. The collaborative issue of the VLC’s biannual publishing series for discursive, speculative, experimental writing, and artistic practices features a new sound work by artist JJJJJerome Ellis and a new text by writer Diana SeoHyung, both reflecting on the theme of intervals—on languaging, language breaks, aphasia, riffing, and repeating. This recording of the launch, which took place in early May at Storm Books & Candy, in Brooklyn, includes SeoHyung's reading of her text 가는 길: Decision to Leave / On Leaving / Leaving, and Ellis's performance of Havensong. The episode is introduced by Lauren Wetmore in conversation with Re'al Christian, Assistant Director of Editorial Initiatives at the VLC, about originating Post/doc, and her own writing and editorial practice.

Thanks to this episode’s sponsors, Marian Goodman Gallery and The Blue Building, for supporting our work.

Thanks to JJJJJerome Ellis, Diana SeoHyung, and Re'al Christian for their contributions to this season.

And as always, many thanks to Jacob Irish, our editor, and Chris Andrews, for production assistance.

Paul Chan is an artist, writer, and former publisher. For this episode of Momus: The Podcast, Chan’s self-made automated doppelganger reads “Sade Today (after Judith Butler),” a piece he wrote for Evergreen (Spring/Summer 2025). He speaks to Sky Goodden about the implications of AI on writers (though they agree that criticism could present a special resistance) and his recent efforts to increase accessibility to his writing through audio recordings, while “hemlocking” its content against AI co-option. Chan also discusses the challenges of independent publishing, how he perceives writing as a form of daring, and how writing informs making. But in either case, he says, “ Choices are real choices when they're neither given nor self-evident. That, to me, is the core of what it means to think creatively.” 

Thanks to this episode’s sponsor, Plug In ICA, for supporting our work.

Thanks to Paul Chan for his contribution to this season.

And thanks to Jacob Irish, our editor, and Chris Andrews, for production assistance.

In this episode, Meghan O'Rourke, poet, author and editor of The Yale Review, speaks frankly about pursuing a creative and professional life with chronic illness. Joining Lauren Wetmore in conversation, and following a reading from Susan Sontag's pivotal text "Illness as a Metaphor" (The New York Review of Books, 1979), which O'Rourke updated for the 21st century with her medical memoir The Invisible Kingdom: Reimagining Chronic Illness (Riverhead Books, 2022), O’Rourke speaks to how "The way you make work might not look as consistent as a kind of late-capitalist notion of productivity insists." She also touches on her experiences as a critic and editor of criticism, insisting that both require one to be "capable of generosity and describing love."

Thanks to this episode’s sponsor, the Illingworth Kerr Gallery, Alberta University of the Arts (AUArts), for their support of our work.

Thanks to Meghan O'Rourke for her contribution to this season.

And thank you to Jacob Irish, our editor, and Chris Andrews, for production assistance.

In this episode, we feature Legacy Russell, the writer, curator, and Executive Director and Chief Curator of The Kitchen, an artist-driven non-profit space in New York City. As a cultural critic she has published the books Glitch Feminism (Verso Books, 2020) and Black Meme: A History of the Images that Make Us (Verso Books, 2024), which questions how we define Blackness through mediated material. For the podcast, Russell reads from Lorraine O’Grady’s iconic essay “Olympia’s Maid: Reclaiming Black Female Subjectivity,” first published in Afterimage in 1992, and collected in New Feminist Criticism: Art, Identity, Action (Routledge, 1994). Russell speaks with Sky Goodden about her relationship to O’Grady’s essay—one that “came before its time and carried us into the future”—and touches on the central conceit that perhaps also explains its controversy: “Lorraine truly believed in a culture that would allow for contestation.” But, Legacy reflects, perhaps our culture hasn’t caught up to her yet. 

Thanks to this episode’s sponsor, the artist Cui Jinzhe, for her support of our work.

Thanks to Legacy Russell for her contribution to this season.

And thank you to Jacob Irish, our editor, and Chris Andrews, for production assistance.

Nizan Shaked is our guest this month! Shaked is Professor of Contemporary Art History, Museum, and Curatorial Studies at California State University, Long Beach, and most recently the author of Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022). She speaks to Lauren Wetmore about the resources offered by criticality, writing for ”liberals that I want to become more radical,” and researching her forthcoming book Art Against the System, for which she recently won a Warhol Arts Writers Grant. Shaked offers artist LaToya Ruby Frazier’s book The Notion of Family (Aperture, 2014) to consider the devastation perpetrated by imperial industry, its connection to art systems, and how artists provide models for how to deal with authoritarianism.

Many thanks to this episode’s sponsors, Centre PHI and Night Gallery, for their support of our work.

Our deepest thanks to Nizan Shaked for her contribution to this season.

And a big thank you to Jacob Irish, our editor, and Chris Andrews, for production assistance.

Season 8 of Momus: The Podcast launches with Ajay Kurian, an artist, critic, and co-founder of New Crits, a platform for artist mentorship. Kurian speaks with Sky Goodden about a text by Robert Pogue Harrison on the art of the zen garden (Gardens: An Essay on the Human Condition, University of Chicago Press, 2008), and about his artist-writer influences including Robert Smithson, Paul Chan, and Hannah Black. He also touches on his recent response (in Cultured Mag) to Dean Kissick's screed on identity politics (in Harper’s), and what it required to “clean the public restroom” in the wake of Kissick’s feature going viral. “I think I was more upset by how bad the piece was than the ideas in the piece. […] I think especially for artists of color, like none of that stuff is new to us. And to think that there was massive progress … it could all be taken away in a second. I'm not holding it as new solid ground.”

Kurian’s solo exhibition Peanuts (Deluxe) is on view at 47 Canal in New York through March 22.  

Many thanks for this episode’s sponsors, CONTACT Photography Festival, Plural Art Fair, and Workman Arts, for their support of our work.

Thank you to Jacob Irish, our editor, and Chris Andrews, for production assistance.