RECENT WRITING (2021-)
Coleman Collins’ The Upper Room, Brief Histories, ART PAPERS, 2025
El Anatsui’s Behind the Red Moon, Tate Modern, Studio Magazine, 2024
Bhen Alan’s Sometimes My Accent Slips Out, Catalogue Essay, CUE Art Foundation, 2024
Maia Ruth Lee’s The skin of the earth is seamless, Tina Kim Gallery, ArtAsiaPacific, 2023
Justin Chance, Nina Hartmann, Lyric Shen, and Mike Yaniro in JUNK IS NO GOOD BABY, Silke Lynder, C Magazine, 2023
Alison Nguyen’s Andra8 and the Gig Workers of the Data Economy, ART PAPERS, 2023
Sin Wai Kin’s the story changes the body changes (repeating), The Guggenheim, The Amp, 2023
Korakrit Arunanondchai and Alex Gvojic’s PRAY, Canal Projects, ART PAPERS, 2022
Candice Lin's Seeping, Rotting, Resting, Weeping, Carpenter Center for Visual Arts, Hyperallergic, 2022
Jesse Chun's SULLAE 술래, MOCA Toronto, C Magazine, 2022
BTS and the Aesthetics of Self-Acceptance, ART PAPERS, 2022
An Interview with Jes Fan, ART PAPERS, 2022
Amelia Dimoldenberg’s Chicken Shop Date and Post-Pandemic Socialization, Dirt, 2022
My Favorite Muji Slippers, The Strategist, 2022
Social Media and Anxiety, 2022
YummyBoy and the Turn Towards Anonymity, Dirt, 2022
Tiffany Sia's Never Rest/Unrest, ART PAPERS, 2021
Frances Cha's If I Had Your Face, 2021
The 2018 Turner Prize Nominations, 2021
Martine Syms’ Grand Calme, 2021
Techno-Orientalism : Imagining Asia in Speculative Fiction, History, and Media by David S. Roh, Betsy Huang, Greta A. Niu, 2021
Nam June Paik’s Fin de Siecle II, 2021
BIO
Sasha Cordingley (she/her) is an arts and culture writer born in Hong Kong, raised in the Philippines, and residing in Brooklyn, NY.
Currently: Writer/Editorial Associate/Press Officer, Studio Museum in Harlem.
Published In: Hyperallergic, Art Papers, ArtAsiaPacific, C Magazine, The Strategist, and Dirt.
Awards: C Magazine’s New Critic Award and the Henry Moore Institute Dissertation Award.