CURRENT ISSUE

Trace Inhabitant

RACHEL ROSSIN // IN CONVERSATION By Caleb Mathern Rachel Rossin is a New York-based artist whose exhibitions incorporate quite the media diaspora—from blowtorches and canaries, to deepfakes, holograms, virtual reality, and honest-to-God oil painting. Her practice is uniquely indescribable, in that it fixates so firmly on the experiential. An early adopter of VR (she received[…]

Reshaping the Nuclear Family

ROSALIND NASHASHIBI: DEEP REDDER // SECESSION By Fanny Hauser The visual language of Rosalind Nashashibi’s film works evades easy categorization, shifting between observational documentary and poetic subjectivity. Oftentimes elusive and eerily slow-paced, her films inquire into familial, societal, and systemic relationships between people, alongside the secret life of objects, the mechanisms of kinship, and everyday[…]

Utopian Blind Spots

ASSAF EVRON // MUSEUM OF CONTEMPORARY ART CHICAGO By MK Meador We all know we live in the legacy of modernism, whether it be the label of the ‘post-modern’ age, or the normalized sight of Frank Lloyd Wright’s homes in and outside of Chicago. In tracking the aesthetic legacies of the modernist project and effects,[…]

All the World is a Stage

SARA RAMO // PROFILE OF THE ARTIST By Ionit Behar Spanish-born, Brazil-based artist Sara Ramo appropriates everyday elements and scenes, displacing them from their original context and rearranging them across her videos, photographs, collages, sculptures, and installations. The following conversation took place during the last weeks of her installation, lindalocaviejabruja, at The Museo Nacional Centrode[…]

In Advance of An Archive

THE JOSEPH J. MCPHEE JR. RESEARCH LIBRARY AND LISTENING ROOM // CORBETT VS. DEMPSEY By Patrick J. Reed I. This is a story about jazz and thinking about jazz, and thinking about the moment both were on my mind when a teenager passing me in a car hurled a homophobic slur in my direction. True,[…]

I Can’t Imagine Ever Wanting to Be White

ON AGENCY AND SOCIAL PRACTICE // THE WHITNEY BIENNIAL THEN AND NOW By Noah Hanna When critic Glenn O’Brien received an admission tag at the Whitney Biennial in 1993 baring the statement; “I CAN’T IMAGINE EVER WANTING TO BE WHITE,” he bluntly reflected on the experience in Artforum, “No fucking way was I putting that[…]

Sean Edwards

UNDO THINGS DONE // COLLATERAL EVENT OF WALES By Anna Searle Jones Representing Wales in the 2019 Venice Biennale, Sean Edwards’ pavilion exhibition, Undo Things Done, is reflective of his wider practice, weaving a range of mediums—sculpture, photography, film, audio, prints, textiles, artist’s books—into a poetic meditation on working class life, inheritances, and interdependence. These[…]

Hidden in Plain Sight

ILYA AND EMILIA KABAKOV // THE SHIP OF TOLERANCE By Jill Silverman van Coenegrachts Since 2005, USSR-born and New York-based artists Ilya and Emilia Kabakov have presented The Ship of Tolerance in twelve locations around the world. The work began in Siwah, Egypt, as an installation where children of diverse backgrounds made drawings that became part[…]

Tending a Public

COUNTERPUBLIC TRIENNIAL // ST. LOUIS By Joel Kuennen   The Luminary, an anchor arts organization in St. Louis helmed by founders Brea Youngblood and James McAnally and curator Katherine Simóne Reynolds, undertook its first triennial this year. The triennial, Counterpublic, took form as a series of installations and provocations within local businesses in a predominantly[…]

Gathered on This Beach

SUN & SEA // LITHUANIAN PAVILION By Natalie Hegert In this last of meeting places We grope together And avoid speech Gathered on this beach of the tumid river… This is the way the world ends This is the way the world ends This is the way the world ends Not with a bang but[…]

Sonics and Politics

SAMSON YOUNG // SMART MUSEUM OF ART By Elliat Albrecht This summer has been a difficult one in Hong Kong. Sweltering, as summers always are in China, and fraught with rising political tensions. On June 16, more than two million people marched across Hong Kong island to protest a controversial anti-extradition bill that threatens to[…]

Sex

ANNE IMHOF // ART INSTITUTE OF CHICAGO By Jill Danto Berlin: in the recent past, it has been marked as a cultural capital within the contemporary art world. Though I have never been to the city, its image appears to be a utopianism that was dreamt in response to the darker sides of its history.[…]

On the Death of Camp

By Mayne 1. Camp is esoteric— something of a private code […] To talk about camp therefore is to betray it. –Susan Sontag.1 2. The unrestrained, bombastic opulence of the Met Gala has turned the hoi-polloi into a teeming rabble of amateur fashion critics decrying the ‘Death of Camp.’ Though when asked, no one, least[…]

Mr. Peanut Runs for Mayor

IMAGE BANK // KW INSTITUTE FOR CONTEMPORARY ART By Julianne Cordray In the 1970s in Vancouver, Canada, Vincent Trasov and Michael Morris established the correspondence-focused artist collective, Image Bank—now emblematic of a practice that was at once distributive and acquisitional. The current Image Bank retrospective at the KW Institute for Contemporary Art in Berlin presents[…]

The Privilege of Proximity

LA BIENNALE DI VENEZIA // A SINKING SHIP By Rashayla Marie Brown Writing a first-time review as an emerging artist about the largest and oldest art biennial has led me down a corridor of binaries, squarely placing myself somewhere in the middle of maker and critic. These binaries function to preserve the terms which give[…]

Larissa Sansour

HEIRLOOM // PAVILION OF DENMARK By Dr. Kostas Prapoglou Heirloom, curated by Nat Muller, is the title of the Pavilion of Denmark, which encompasses the work of East Jerusalem-born and London-based artist Larissa Sansour. In Heirloom, the pavilion is divided into two conceptually interconnected parts; the first, a dark room with the mixed media installation[…]

The Institute of Complex Systems

NEÏL BELOUFA // PROFILE OF THE ARTIST By Guillaume Désanges For French-Algerian artist Neïl Beloufa, cinema belongs to an aesthetic model that is both industrial and moral. Throughout his practice, the conventions of film are often made into materials for sculpture. While films also exist within the artist’s oeuvre—installations that function like the pans of[…]

DAWOUD BEY

VISUALIZING MEMORY By Susan Snodgrass >click here to download PDF Throughout a career that has spanned over forty years, Dawoud Bey has continuously redefined the photographic portrait—from his early black-and white images of the faces of Harlem, to large-scale color Polaroids of urban youth, to symbolic portraits commemorating the young lives lost in the 1963[…]

AN EVENING, CHAPTER 32

R.H. QUAYTMAN // SECESSION by Ezara Spangl >click here to download pdf In R. H. Quaytman’s exhibition at the Secession, the artist—whose 2011 publication Spine requested that no pronouns be used in reference to the artist—has once again staged what Quaytman calls a ‘chapter.’ The chapter functions to explore, explain, and elevate the artist’s self-reflective lyrical[…]

LAURA OWENS // WHITNEY MUSEUM OF AMERICAN ART

By Terry R. Myers >click here to download PDF One of the added benefits of this well-timed mid-career survey of Laura Owens’ paintings comes from it having been organized by the Whitney Museum of American Art. Lately, we have been reminded that painting can still matter, which it always has—despite, or perhaps because of, the[…]

HANK WILLIS THOMAS

UNBRANDED: REFLECTIONS IN BLACK AND A CENTURY OF WHITE WOMEN Selected by Stephanie Cristello Foreword by Janet Dees and Tamar Kharatishvili >click here to download PDF For over fifteen years, conceptual artist Hank Willis Thomas has consistently explored the representation of stereotypes within mass media and American consumer culture, particularly as it relates to African-[…]

LANGUAGE OF PERMISSION

ANNA MARIA MAIOLINO // MUSEUM OF CONTEMPORARY ART, LOS ANGELES By Paige Landesberg >click here to download PDF Anna Maria Maiolino’s vocabulary is expressed through a combination of form, symbol, and material that articulates the artist’s path through labor, motherhood, and migration. The first room of her recent self-titled retrospective exhibition at the Museum of[…]

PHILIPPE PARRENO

TWO AUTOMATONS FOR ONE DUET // ART INSTITUTE OF CHICAGO By Natalie Hegert >click here to download PDF Floating fish balloons are a mainstay in Paris-based artist Philippe Parreno’s current work—unable to be bound to any medium, the artist explores the object in the relationship to the space of an exhibition. Utilizing scientific technology in[…]

WHATEVER BODY

COMMODITY LIMITED // ON THE SURFACE OF AN IMAGE By Vanessa Gravenor >click here to download PDF A coughing man on repeat stares forward. His beady eyes have a hollowed-out effect and inform us, the viewers, of his irritation with our presence. The footage of this man, who is called The Assistant, hacks into a[…]