On Whiteness
In 2017, I started working with Claudia Rankine and a collective called the Racial Imaginary Institute (TRII). For their inaugural project they were curating…
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Breathing Resistance: An Interview with Sahar Te
The sound of breathing permeated the space. It was unsettling not only because this encounter happened in the middle of a pandemic in which…
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Oliver Lee Jackson, the People’s Painter
“The Painter” moves expansively but in fits across the second side of Dogon A.D., a pendulous free jazz masterpiece self-released by Julius Hemphill in…
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Caribbean Being and Becoming in “Fragments of Epic Memory”
In his 1992 Nobel Lecture The Antilles: Fragments of Epic Memory, Derek Walcott characterized Caribbean poetry as a remaking of fragmented memory. The Art…
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The Bodies That Scramble India’s “Constitutions”
Visibly shaken professors made a special announcement at our university’s recent Race Equity Caucus meeting. They’d been harassed for participating in a virtual conference…
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Seeking Specificity in Postcommodity
To be given the opportunity to travel for the sake of art, even if it’s from one small dusty Prairie city to another, is…
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Plant People
What is it about the threat of impending death that drives us into the arms of Mother Nature? In 2020, there was a curious…
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Losing Ground in Singapore’s State-Curated Digital Age
The Substation, a leading arts center in Singapore, announced its permanent closure in March after its thirty-year stint as an independent home for the…
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Season 5 Episode 2: Harry Dodge
In this episode, artist Harry Dodge reads from My Meteorite, or Without the Random There Can Be No New Thing (Penguin Press, 2020). Dodge, a…
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Don’t Look Back: Renée Green’s Present Tense
Renée Green’s latest exhibition Inevitable Distances unfolds across two locations, the KW Institute of Contemporary Art and the daadgalerie, both of which bill the…
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