Mediating art, space, and the self on screens.
Tracing the lineage of feminism and social justice in postmodern dance.
Inspired by Japanese “landscape theory,” a Parisian artist-filmmaker explains why he prefers to show us the world as his subjects see it.
Agnès Varda’s aesthetic tides change, inviting us to switch positions of viewing, knowing, and feeling, for old narratives to wash away and new portals of sensation to open up.
In Killer of Sheep, Charles Burnett’s 1977 film set in LA after the Watts riots, there is a scene you may recall: a group of friends sit in a car outside a liquor store; on the hood rests a can of beer, and the man in the passenger seat reaches through the empty windshield to sip from it.
Wry installations and revelatory sculptures blend art-making and activism in Chin’s unique practice of transformation.
“Liberty’s show manages to be about prison and not about prison at the same time: her audience writes about how the music lets them forget they’re incarcerated for a moment, and she calls that effect ‘time travel.’”
“I liked thinking about the word occupy literally. To occupy something. To occupy a sensation or a history and then to be kicked out of it and be squatting near it and trying to reinvest in it.”
“In representing someone else, all of my films are actually representations of myself.”
“She isn’t all completely me, but somehow she’s a part of me, or some sort of art-making tool.”
“The context for creation is collaborative, it’s peer-based, it doesn’t emerge from a bubble. So why should these works be viewed so discreetly thirty years on?”
“I have been thinking specifically about the cave of humankind.”
“I’m thinking about how we experience, or try to experience, infinite space and time through the most finite, basic methods.”
Technological distortion, motherhood, and painterly approaches to video.
Belgian-American artist Cécile B. Evans delights and enchants with her provocative media installations.