• Selected Words
    • Criticism
    • Essays
  • Other Work
    • Photography
    • Specific works
    • Prints
  • On View
    • PressFest
    • Fort Worth Biennial
    • Exhibition 214
    • Misapprehended
  • Video (essays)
  • Podcasts
    • Why Does the Wilhelm Scream?
    • One More Thing(s)
  • Critical Matter: Reviews and Thoughts
  • For Sale
  • About
  • Contact
  • Menu

Brock Kingsley

  • Selected Words
    • Criticism
    • Essays
  • Other Work
    • Photography
    • Specific works
    • Prints
  • On View
    • PressFest
    • Fort Worth Biennial
    • Exhibition 214
    • Misapprehended
  • Video (essays)
  • Podcasts
    • Why Does the Wilhelm Scream?
    • One More Thing(s)
  • Critical Matter: Reviews and Thoughts
  • For Sale
  • About
  • Contact

The Importance of Representation in “We Are Green and Trembling”

April 03, 2026
The Importance of Representation in “We Are Green and Trembling”

Representation matters. How we see ourselves reflected in media—especially in so-called highbrow cultural forms—shapes our understanding of the world we inhabit, the communities we belong to, and the symbols we use to construct meaning.

Read More
Prev / Next

Critical Matter: Reviews and Thoughts

Reviews, mini-essays, and other musings.


Featured Posts

Featured
The Importance of Representation in “We Are Green and Trembling”
April 3, 2026
The Importance of Representation in “We Are Green and Trembling”
April 3, 2026

Representation matters. How we see ourselves reflected in media—especially in so-called highbrow cultural forms—shapes our understanding of the world we inhabit, the communities we belong to, and the symbols we use to construct meaning.

Read more →
April 3, 2026
The Art of Turning Away in Daniel Poppick’s The Copywriter
April 3, 2026
The Art of Turning Away in Daniel Poppick’s The Copywriter
April 3, 2026

We have to assume that as artists and writers, we all face moments—likely many—where we ask ourselves: What’s the point? Most of us will never grow wealthy from our craft. As for those who do, we often find ourselves questioning their artistic sincerity. Have they simply mastered the art of reducing their soul to a manageable, marketable asset, distorting their identity for the sake of self-promotion?

Read more →
April 3, 2026
Human/Animal: A Bestiary in Essays: A Conversation with Amie Souza Reilly
May 4, 2025
Human/Animal: A Bestiary in Essays: A Conversation with Amie Souza Reilly
May 4, 2025
Read more →
May 4, 2025
What We Tried to Bury Grows Here
February 28, 2025
What We Tried to Bury Grows Here
February 28, 2025
Read more →
February 28, 2025
Grand Theft Hamlet
February 24, 2025
Grand Theft Hamlet
February 24, 2025

My relationship with Grand Theft Auto is virtually nil. I have never played any version of the popular video game—this is not a badge of honor I am pinning to my chest; the video game bug, like the comic book bug was one that never bit me. My closest relationship to it is the essay “Grand Theft” by Tom Bissell in which he discusses a three-year addiction to video games and cocaine (the video game of prominence was the Grand Theft Auto series). Just because I have no interest in playing video games like GTA, doesn’t mean I’m not interested in what can be done with them—or how they can be examined and analyzed through the lens of storytelling, socioeconomics, feminism…or any other critical lens. So, when a film like Grand Theft Hamlet shows up, I’m willing, despite my lack of familiarity, to see where it takes me.

Read more →
February 24, 2025
Morris Louis
February 24, 2025
Morris Louis
February 24, 2025

Beta Mu hangs on a wall by itself. It’s massive: 102 x 170 inches. Thin lines of paint mixed with turpentine run down in diagonals and stain untreated canvas. The v-shaped center, the largest part, is naked. An inverted empty pyramid. It looks like two heaving lungs, I say to no one. A woman passing by turns and looks—at me, at the painting, at me. She walks away. What I mean is that it helps me to remember to breathe.

Read more →
February 24, 2025