Basel Abbas and Ruanne Abou-Rahme's And Yet My Mask Is PowerfulBy Phillip Griffith
“First the air is blue and then,” as reports the diver, “it is bluer and then green and then / black I am blacking out and yet / my mask is powerful / it pumps my blood with power.”
Hito Steyerl's Duty Free ArtBy Chloe Wyma
Duty Free Art, “almost everyone is an artist.” Neoliberalism’s shotgun wedding of art and labor has undoubtedly birthed artists of all stripes—graphic artists, performing artists, makeup artists, body artists, burrito artists, bullshit artists, and scores more contemporary artists than a scarcity-principled market can accommodate.
Rediscovering an American Community of Color: The Photographs of William Bullard, 1897-1917By Andrew Holter
“Negroes can never have impartial portraits at the hands of white artists,” Frederick Douglass wrote in an editorial for The Liberator nearly 170 years ago.
Lee Lozano Private Books 1-3By Madeline Weisburg
“Rebellion?” Lee Lozano asks in one of her late 1960s journals. “Ce-rebellion! Cerebellion.” The note, an offhand entry jotted out in ballpoint pen, seems a fitting way to describe the artist’s particular brand of artistic defiance, synthesizing as it does the tone, form, and ideology of her now-legendary conceptual practice, which manifested itself as a series of private acts of refusal.