Spot 1: Georgia
Below Baldwin
clarkston
Just outside Atlanta, one of America’s most diverse refugee destinations.
Chattahoochee Explorers Club
Artists and educators Mark Dion, Pam Longobardi, and Mike McFalls discuss their collaborative work with Georgia State University and Columbus State University students on ecology, history, and site-responsive public art projects.
Spot 2: Energy Structures
The Energy Paradox
Japanese artists’ and cultural workers’ strategies for response to the Fukushima disaster.
Xandra Ibarra: Endurance and Excess
Alexis Wilkinson and Xandra Ibarra discuss cockroach consciousness.
A Brief History of Power
Contributing editor Stephanie Bailey traces the lines of electrification to political power via Chilean artist Iván Navarro and the 38th EVA International in Ireland.
Spot 3: On Memory + Memoriam
Cathedrals
Tracking the legacy of architect Paul R. Williams, a photographer finds Las Vegas’ modernist sanctuaries.
Is Art Still “What Makes Life More Interesting Than Art”?
FROM THE ARCHIVES: November/December 2001— Cay Sophie Rabinowitz wrote on the tragic events of September 11, 2001, and the ability of art to go on in the aftermath.
Cast Iron
An artist almost drowns, then reflects on Black Buoyancy, Hemingway, and Mami Wata.
Spot 4: Disability + Visibility
On Evasion
A formal and historical reading of a set of drawings probably forged by an analyst and used to make various claims about autistic people.
Henrik Olesen: What is Most Deep is the Skin
On artist Henrik Olesen’s “Hysterical Men” and “The Walk,” which concern mental illness and the pathologization of queerness by way of historical figures.
Obstacle Race
A personal essay on the artist’s navigation of the art world while disabled.
Spot 5: Borders, Barriers
St. Louis: Navigating the Brick City
The urban landscape can be seen as a transcription of a city’s history. In St. Louis, the construction and destruction of brick buildings reveal a racialized history of segregation and inequality.
New Frontiers
Current developments in London highlight the politics of “Creative Quarters.”
Out of Beirut
I never made it to Beirut until 2009. I was an adult on a career path. I had spent my life until that point confounded by the fact that so few people in the art world looked like me or bore names like mine. Where were they hiding?