Jack Whitten, Human Xerox Machine
Tilt your ear to a Jack Whitten painting and you might hear music. “You gotta be able to think like John Coltrane to do…
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Implied Threat, Implied Responsibility: Elizabeth Catlett at the National Gallery of Art
At this time when we are fighting an all out war against tyranny and oppression, it is extremely important that the picture of Negro…
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Improvising at the Edge of the World: Joan Jonas at the Gund
Somewhere in the stratosphere between Ohio and New York, cumbersome bodies bumping against pockets of turbulence, my mind turned to the title of Lucie…
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A Punk-Rock Polyglot: The Subversive Riffing of Carole Caroompas
The late artist Carole Caroompas was once asked why rock and roll provided such generative source material for her paintings and performance art. Caroompas…
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The Breathing Field of Marlon Kroll
I sat in the last row of the bus, watching the scenery dissolve into dusk, each passing moment echoing the temporal experience I’d just…
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We Are the Same Thing: The Sutured Selves of María Magdalena Campos-Pons
For the past few weeks, I’ve been mulling over an image from a single-channel video by interdisciplinary artist María Magdalena Campos-Pons. In Baño Sagrado…
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Dreams Being Real: EDELO’s Frontline Resistance
Entering the main gallery at UC Santa Cruz’s Institute of the Arts and Sciences, visitors are confronted by a massive fallen tree made of…
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Intimacies Concealed and Performed: Katayoon Yousefbigloo and A Maior at Western Front
“A pendant hangs, an amulet works,” claims Fawn, a character in curator Kiel Torres’s script and accompanying text for the exhibition Wishing on My…
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As Flight or Escape: Ralph Lemon at MoMA PS1
Ralph Lemon has described choreography as “a daily event appropriate to uncontrolled circumstances.” If the traditional role of the choreographer is to determine the…
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A Very Real American Place: The Suburban Unconscious in Mike Kelley
The suburb of Westland, Michigan, where Mike Kelley grew up, may be one of the only cities in the US renamed after a mall….
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