Slowing down images and information.
An exhibition looks at historical conceptions of nature in the United States.
Art in a time of rapid change.
The Pérez Art Museum Miami director talks about local and global communities.
Contending with Robin Evans and the limits of architectural drawing.
The ethics of curating as an ethics of care
Benjamin as hollow window dressing
“How do you draw information out if you aren’t involved and in love with it.”
De-radicalizing the monochrome.
“I hope it’s not a masochistic impulse within me, but I will always stay until the end to see how a creative thought completes itself.”
Questions, extractions … of authorship, origin, and connectivity. Kari Cwynar and Kendra Sullivan’s curation of Accompaniment, a group show at EFA Project Space, is meticulous and airtight—the curatorial statement (a chapbook in itself) is a feat of textual and didactic density that leaves no stone or song unparsed.
A 1971 photograph by Jan van Raay shows artist Cliff Joseph leading a group of artist-activists—members of the Black Emergency Cultural Coalition (BECC)—in the dead of winter protesting the Whitney Museum’s controversial exhibition Contemporary Black Artists in America (months before its opening on April 7, 1971).
“She wasn’t loved, so she didn’t know how to give love.”
Restoring, archiving, and exhibiting artists‘ films from the post-punk era.
Ciphers, graffiti hieroglyphs, and lateral communication.
Pythagoras taught behind a veil to avoid distracting his students with his bodily appearance, which he considered an impediment to their pursuit of pure knowledge. His voice was an acousmatic one—its origin could not be identified.
Brian Rogers talks about reprising his performance piece Hot Box, the challenges of performing, and his compulsion to keep creating.
Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.