David Everitt Howe

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A “New” Normal: Farah Al Qasimi’s FUNHOUSE Reviewed by David Everitt Howe
Marwa Braiding Marahs Hair Farah Al Qasimi1

Cultural hybridity and displacement between East and West.

A “New” Normal: Farah Al Qasimi’s FUNHOUSE Reviewed by David Everitt Howe
Marwa Braiding Marahs Hair Farah Al Qasimi1

Cultural hybridity and displacement between East and West.

Aki Sasamoto’s Delicate Cycle by David Everitt Howe
Aki Sasamoto 01

With charmingly deadpan humor, Aki Sasamoto’s performances and installations tease out just how small human existence is; despite our more evolved intellect, advanced motor skills, and ability to read and appreciate Proust, we’re all basically rats at heart, just with the added bonus of self-reflection and a love for rosé.

Eddie Peake’s Head by David Everitt Howe
Eddie Peake 01

Inaugurating Deitch’s return to SoHo, Head proved to be little more than sexual provocation.

Institutional Collusion: Merlin Carpenter and Cologne’s “Non-Productive Attitude” by David Everitt Howe

It’s very tricky, if not kind of futile, to criticize the work of Merlin Carpenter; he does it for you before you’ve even had the chance, calling his art “crap political work.”

We Are Orlando by David Everitt Howe

So, instead of taking the long view, eventually looking back, we’ve opted to respond now—in more or less the heat of the moment, starting tomorrow—for the weeklong series We Are Orlando. Because BOMB is about heat, is it not?

Patrick Angus in Arkansas
Angus Bomb 3

“A kind of home museum, starting with the garage.”

The Kardashians by Brienne Walsh, Chelsea Knight & Elise Rasmussen
Kardashians 01

“They own their own image. In a world where image is everything, that’s a very serious kind of ownership.”

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