Dear Dave, welcome back to art writing, if indeed your article was a signifier of that. I was troubled by your abandonment of us in the first place.
On April 27, 2015, Baltimore erupted into what was arguably the worst urban rioting in a major U.S. city since Los Angeles in 1992. Scores of buildings were looted and burned and at one point, so many buildings had been torched that the city ran out of fire equipment to put the fires out and had to summon surrounding county fire departments.
The April 25 headline of the New York Times read, Scenes of Chaos in Baltimore as Thousands Protest Freddie Grays Death. The article goes on to describe how a largely peaceful protest, staged in the wake of this countrys third publicly documented murder of a black youth by police in less than a year, gave way to looting and riots in the streets of Baltimore.
A few pages into the poet and critic Maggie Nelsons new book, The Argonauts, she quotes from Gilles Deleuze and Claire Parnets Dialogues II:There are no longer binary machines: question-answer, masculine-feminine, man-animal, etc.
From the Publisher & Artistic Director
Venice excels in blackness and whiteness; water brings commerce between them. Italians excel in the use of black and white, white stone and interior darkness. Colour comes between, comes out of them, intensely yet gradually amassed, like a gondola between water and sky.
Editor's Messsage Guest Critic
Can art today be a form of protest? And, if so, what subjects, what issues, what transgressions or injustices, does it most vitally and persuasively critique? In many ways, the obvious answer to this question is yes.