Since 2006, experimental poet-novelist Renee Gladman has been making drawings, often characterized by diagrammatic or architectural elements, that tap into languages rich capaciousness. Gladman garnered acclaim for her Ravicka novels (201017), fictions in which bodies move through a shifting city-state with its own language.
Though the panel discussion framed feminism as a buzzword, Red, White, Yellow, and Black was feminism in practice. So is the effort put forward by the show: to sift through ephemera, restage artworks, reconvene group members, and obtain oral histories, all for the sake of fleshing out what never should have been missing from art history in the first place.
Curated by writer Raphael Rubinstein and artist Heather Bause Rubinstein (whose labyrinthine fabric painting City as Shape (2019) is included in the show), Schema takes up the question of how artists have employed a broad cross-section of diagrammatic forms, from the map and the mandala to the isarithm and the ideogram.
Tishan Hsu has been exploring the messy entanglement of bodies and technology for over three decades. Spanning painting, drawing, sculpture, photography, and video, his work is characterized by a slippery lexicon of biological and technological motifslingering on the touch in touchscreen and the face in interfacethat probes the more visceral, affective, and lived aspects of our relationships to machines.
A former student of Sōdeisha member Satoru Hoshino, contemporary Japanese potter Masaomi Yasunaga carries some of the schools avant-garde predilections forward, deftly melding traditional and experimental techniques to make inscrutable and compelling objects with a constitutional aversion to orthodoxy.
How might an ethics and politics committed to the flourishing of significant otherness be learned from taking dog-human relationships seriously? asks scholar Donna Haraway in The Companion Species Manifesto (2003), a characteristically nimble and excursive text on the imbricated past, present, and future of canines and people. In the follow-up to her 1985 cyborg manifesto, Haraway frames people and dogs as co-constitutive categoriesthe term companion hinges upon a relation or contingencyand characterizes significant otherness as a nonhierarchical form of relating that springs from a cognizance of difference and an ethics of attention.
The Drawing Centers latest exhibition is full of portals: artworks that beckon us to a mysterious elsewhere and enable us to tunnel deeper into ourselves at the same time.
In response to the socio-ideological landscape that late capitalism presents as donnée, the Yes Men pose as corporate or governmental bodies in mass media hijinks that either take consensus reality to its ludicrous extremes or demonstrate that consensus reality has already reached said extremes, highlighting our entrenchment in its naturalized frameworks.
The first person who bought my art was a client of mine, writes Sophia Giovannitti in her debut book, newly released by Verso.
Rejecting the urge to erase, minimize, or turn away from an unsightly feeling, the writers included in this anthology audaciously inhabit a sentiment that society exhorts its high-functioning citizenry to disown. The beautiful, weird aggregate that results is profoundly, pathetically human.