Hannah Stamler
Arthur Jafa: A Series of Utterly Improbable, Yet Extraordinary Renditions
By Hannah StamlerOn the day I visited Arthur Jafa’s exhibition at the Julia Stoschek Collection, Berlin, there was a woman dancing in the gallery. She hugged the left-hand wall of the second room, jerking her hips from side to side as if she were in one of the city’s many nightclubs.
Marilyn Minter Pretty/Dirty
By Hannah StamlerThe capacity of images to shift in charge and meaning is a central, and under-explored, strand of Marilyn Minter’s survey exhibition, mounted as part of the Brooklyn Museum’s “A Year of Yes” celebrating feminist art.
Here/There: Telepresence, Touch, and Art at the Interface
By Hannah StamlerIn the late 1970s, artists Kit Galloway and Sherrie Rabinowitz brought together dancers in Mountain View, California, and Greenbelt, Maryland, for a bicoastal performance via satellite uplink.
Lauren Greenfield's Generation Wealth
By Hannah StamlerPhotographer Lauren Greenfield’s Generation Wealth resembles base aspirational coffee-table fare. The book is bound in silky golden fabric, its spine like an ingot. On the front and back covers are pictures of luxury served up a variety of ways: an oligarch’s family; a rap star’s diamond-encrusted grills; gilt purses slung low on trophy wives’ toned arms.
Black Out:
Silhouettes Then and Now
By Hannah Stamler
The profile, from the Latin profilare, “to render in outline,” is today a pervasive form. The profile provides the conceptual unit of social networks, while to profile, for a magazine or by a law officer, signifies the act of reducing and distilling a person to a stereotype or sketch.
