A sleek but sensitive compendium of cultural production and politics three years in the making and spanning more than two decades.
“I don’t want the kind of career where everything is sensible and safe; I’d rather suffer through the anxiety of wondering where I’m going next than suffer the boredom of dancing in the same safe square.”
The bed sheet as metaphor for the continuous field of consciousness
Humor, commerce, and family play big roles in Ethridge’s conceptual photography.
The puzzling pathos of sport, apparel, and the everyday.
Lyle Ashton Harris’s work explores intersections between the personal and the political, examining the impact of ethnicity, gender, and desire on the contemporary social and cultural dynamic.
The origins of nostalgia and some theoretical foundations of photography.
Dedicated to poet, journalist, and activist Brad Will, a friend killed while filming a street battle in Mexico in 2006, Brenda Coultas’s The Tatters summons powers too seldom called upon these days.
Household archeology, bygone telephone etiquette, townball, and the teasing sepulcher that is John the Posthumous.
We raised this city together. Good Enough, it’s called.
Mike Donovan discusses analog nostalgia, living in the garage, and Wot, his first post-Sic Alps solo album.
Katherine Cooper addresses a series of letters to performance artist Cynthia Hopkins in response to her work, This Clement World.
you know i can’t imagine you were the magic*
“We are conditioned, we have invented tools for ourselves to function in a more immediate and direct way without having to think about it too much—we sometimes forget to stop and ask ourselves: What are we looking at?”
Jeff Nagy on Ariana Reines’s translation of Tiqqun’s Preliminary Materials for a Theory of the Young-Girl.
Artists Madeleine Hunt-Ehrlich and Jacqueline Hoang Nguyen unpack the politics of the creative process.
“I’ve come here to chew bubblegum and kick ass. And I’m all out of bubblegum.” Justin McNeil reviews Jonathan Lethem’s non-fiction book,They Live, an examination of the movie of the same name.
I find myself thinking lately a lot about nostalgia, and how memories always seem so much more favorable in retrospect. Perhaps this is why I liked “The Last Time” by Craig Cotter; it takes this nostalgia and juxtaposes it with that inevitable, crushing realization that we can never recreate that past. Or maybe it was just for its mention of landing strips, which always makes me laugh; as we grow older it seems anything can take on a sexual connotation.
– Galina Arnaut
Everywhere you look in Michael Smith’s first midcareer survey—a cacophonous carnival of videos, skits, installations, publications, and drawings—there’s “Mike:” a pasty, caterpillar-browed, small-time entrepreneur with American values and a fondness for JFK.