RADICAL BODIES: Anna Halprin, Simone Forti, and Yvonne Rainer in California and New York, 1955—1972

By Kaitlyn A. Kramer

SEPT 2017 | ArtSeen

“Photographs really are experience captured,” writes Susan Sontag in On Photography. The camera’s appropriation of living moments, freezing them as images, “feels like knowledge—and, therefore, like power.” When still images are extracted, they are dissociated from their context and, over time, distill the events they represent.

Ottessa Moshfegh’s My Year of Rest and Relaxation

By Deena ElGenaidi

DEC 18-JAN 19 | Books

Moshfegh’s novel follows a conventionally beautiful 26-year-old woman—tall, thin, blonde—who has no real need to work, living on the Upper East Side in the year 2000, surviving off her dead parents’ inheritance. She has all the privilege and benefits afforded to a young, wealthy, white woman in New York, but all she wants to do is sleep.

Exit Strategies: On Barbara Loden’s Wanda (1970)

By Anthony Hawley

SEPT 2019 | 1 by 1

An old station wagon with wooden-siding drives across a hilly, forested landscape, grim, grey skies overhead. Telephone wires string together sections of land. In the center of the shot, a lone roadside ice-cream shop, something like a Dairy Queen precursor.

Dream of Solentiname

By Madeline Murphy Turner

FEB 2018 | ArtSeen

Dream of Solentiname examines the subjective thoughts and images that emerged around the spiritual, artistic, and political community from which the exhibition takes its name.