Kareem Estefan

KAREEM ESTEFAN is an art critic, writer, editor, and Ph.D. student in Modern Culture and Media at Brown University. He is co-editor of a forthcoming anthology of writings on artist-led protests and cultural boycotts, Assuming Boycott: Resistance, Agency, and Cultural Production (OR Books, 2017).

Is it evading the question “what is criticism?” to ask instead what criticism does, what it can do, in 2016?
Francisco de Goya, Plate 1 from “The Disasters of War” (“Los Desastres de la Guerra”): Sad forebodings of what is to happen. (Tristes presentimientos de lo que ha de acontecer.), ca. 1815, published 1863. Etching, burin, drypoint, and burnisher. 9 15/16 × 13 1/2 inches. Purchase, Rogers Fund and Jacob H. Schiff Bequest, 1922. Metmuseum.org, OASC.
In the last year, the civil rights, feminist, and gay liberation movements of the ’60s and ’70s have returned as critical models for a present torn asunder by international uprisings and occupations.
Installation view of Sharon Hayes: There's so much I want to say to you (Whitney Museum of American Art, New York, June 21–September 9, 2012). Photo: Sheldan C. Collins.

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