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Teaching and Talking about Art and Performance in Unpresidented Times

Johanna Poethig. Songs for Women Living With War, 2016. Courtesy of the Artist.

Today from our sister publication Art Practical, we bring you Thea Quiray Tagle’s article from issue 8.3: Art can’t do anything if we don’t. Quiray Tagle highlights the importance of teaching art in its most intersectional and inclusive form and actively engaging with politics and current events. She states, “For those teaching art and social change in the ongoing aftermath of this election—thank you. For those joining political[…..]

Unflinching Facades: New Work by Carolina Borja and Jesse Matthew Petersen at Soo Visual Arts Center

Carolina Borja. Lucha, 2017; collage and acrylic; 12 x 10 in. Courtesy of Soo Visual Arts Center, Minneapolis.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Camille Erickson reviews Unflinching Facades: New Work by Carolina Borja and Jesse Matthew Petersen at Soo Visual Arts Center in Minneapolis. In[…..]

Refusing to Be Fed

Screenshot, @age103, Instagram post.

From our sister publication Art Practical, today we bring you Vivian Sming’s article from issue 8.3: Art can’t do anything if we don’t. The issue takes its name from Sming’s article, where she states, “Raising these questions is not to say that we don’t need art, or that art can’t do anything at all, but rather that art is not exceptional. Art can’t do anything[…..]

Richard Mosse: Incoming at the Barbican

Richard Mosse in collaboration with Trevor Tweeten and Ben Frost. Incoming, 2017; Installation view. The Curve, Barbican Centre, 15 Feb - 23 April 2017. Photo: Tristan Fewings / Getty images

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Eva Mak reviews Richard Mosse: Incoming at the Barbican in London. No matter race, age, origin, or legal status, while the human[…..]

The Birth of the Author

Rebecca Belmore. Ayumee-aawach Oomama-mowen: Speaking to Their Mother, 1991; Presented by the Walter Phillips Gallery as part of the exhibition Bureau de Change, July 12–September 28, 2008. Banff National Park, Johnsons Lake, July 26th, 2008; Courtesy of the Walter Phillips Gallery, Banff Centre. Photo: Sarah Ciurysek.

Today from our sister publication Art Practical we bring you Andrew Berardini’s article published in issue 8.3: Art can’t do anything if we don’t. Berardini finds the place where art and self-expression exist in the face of illicit power. He states, “If it does nothing else, art gives us authorship of our experience. Layers of meaning and exchange, the nuances of aesthetics and economics, and the complexity[…..]

En Plein Air: Music of Objective Romance at SFMOMA

Jacolby Satterwhite. En Plein Air: Music of Objective Romance at SFMOMA, 2017. Courtesy of SFMOMA. Photo: Charles Villyard.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Sofia Villena Araya reviews En Plein Air: Music of Objective Romance at SFMOMA. Jacolby Satterwhite, an African American artist well known for[…..]

ABOLISH BORDERS as Revolutionary Futurity

Gilda Posada. ABOLISH BORDERS, 2017; installed at Galería de la Raza, San Francisco. Courtesy of the Artist.

Today, from our friends at Art Practical we bring you Carlos Jackson’s article in issue 8.3: Art can’t do anything if we don’t. Jackson hails artist Gilda Posada’s large-scale billboard installation, ABOLISH BORDERS, located on the wall of Galería de la Raza, as an embodiment of the Chicanx claim, “sin fronteras.” Jackson says of the billboard, “The billboard creates and imagines a generous form of community through its[…..]