The largest protests in US history took place yesterday and people’s sign creativity was on full display.
“Truth exists; only lies are invented.”
Although the poetry in Geoffrey Nutter’s Cities at Dawn is almost always calmly descriptive, whatever it describes is somehow something else and not itself.
Albert Murray: Collected Essays & Memoirs opens with a seminal piece, The Omni-Americans. In 1970, Murray took on black protest writers and defied establishment thinking with his claims of “a folklore of white supremacy and a fakelore of black pathology.”
A communal monument to one rapper that also celebrates community in the context of political horror (they didn’t predict the election either). Phife, inevitably, becomes a symbol. So does the whole Tribe.
In this exhibition, it struck me that what Katherine Bradford keeps getting better at is incoherence: she can meld divergent details without coming across as contrived or arbitrary.
This is Marina Adams’ breakthrough show. There is nothing formulaic about her use of color, line or shape. The paintings are eccentric, but do not feel willfully so.
I am HORRIFIED.
Jean Genet believed that money was inherently evil and the quest for power was a form of necrophilia.
Batman, we might say, created the space in the American political imaginary for a President Trump.
Two of this year’s performance offerings, perhaps inadvertently, highlighted the sometimes awkward and asocial embrace of technology.
Tiger Strikes Asteroid doesn’t necessarily offer a new way to see art, but the work by Danielle Cartier, Kasey Toomey, Alex Snowden, and Christopher Richard shows the promise of this through collective activity.