Art
Two artists drawing from punk, graffiti, and traditional Native American aesthetics, talk about protest art and the notion of the “Post-Smithsonian delinquent.”
Hope at the point of despair; doubt at the point of hope.
Iñupiaq futures, language, and the spaces between performance and installation.
The sculptor discusses his work and its influences.
It’s rare that as a writer I am left speechless by a performance. Writing becomes like swimming for the first time: relearning how to breathe. What can abandonment by words afford a writer besides drowning? Perhaps a lesson in listening.
On August 16, the Hikianalia, a seventy-two-foot dual-hulled Polynesian voyaging canoe from Hawaii set out across the Pacific for California, powered by the winds, tides, two solar-charged propellers (for emergencies), and a thirteen-person crew.
The sculptor discusses his work and its influences.
The sculptor discusses his work and its influences.
An exhibition looks at historical conceptions of nature in the United States.
The artist on voice, intimacy, and the physicality of sound.
Featuring selections by Matthew Jeffrey Abrams, Emmanuel Iduma, Kaitlyn A. Kramer, Ashley Stull Meyers, and more.
The mask as multiple levels of embodiment.
Rediscovering a “maverick” female artist from the ’70s
.
The Carnegie International 57th Edition recalls past works and embraces new artists.
Cauleen Smith tangles the past with figures from African American histories, Afrofuturism, Radical Jazz, and alternative futures.
The New York-based artist discusses collaboration, deskilling, and life after the end of the world.
A bilingual excerpt from the Russian graphic journalist’s forthcoming memoir on her hometown of Serpukhov (translated by Bela Shayevich), exploring post-Soviet space and the closure of the village’s state printing press
In 2010, Mexican artist Alejandro Luperca Morales began rubber-erasing human remains out of the frequent crime-scene reports published by P.M., his local Juarez newspaper. Often behind police barricade tape, these ghostly voids resemble eddies of dust, bald patches of earth, or gauzy shrouds illuminated from within. Over the past eight years, Morales has collected a significant archive, performing this gesture on more than 500 images.
Sisters Lydela and Michel Nonó conduct performative interventions at their art space/home in Puerto Rico, using improvisation to process family memories and trace the wounds of colonialism.
