circulation
Jen Everett: Kinship, Interiority & the Black Femme Gaze
Dark Study: on Emily Jacir, Forensic Architecture, and fugitive documentary
Magdalena Suarez Frimkess—The Finest Disregard
Even her utilitarian tableware—tortilla plates and coffee mugs—appear sculptural, not functional. Whereas many ceramicists, including her husband, take great pains to rid their work of evidence of their physicality, eradicating touch, pressure, emotion, and kinetic energy, Magdalena’s sculptures quiver with her presence. Fingerprints, pinch marks, patchwork, the spontaneity and surety of her brushstrokes altogether engender a perceptible alive-ness.
Zora J. Murff: Documenting the Shadow Empire
Tiffany Smith: Back Home
Gestures of Refusal:
Black Photography and Visual Culture
Gestures of Refusal: Black Photography and Visual Culture is the third installment in the Seeing Black1 series curated by Shana M. griffin. Currently on view at the Contemporary Arts Center in New Orleans, Gestures is vast and disarming. Before going, I wondered what it would look like: refusing / reiterating / recognizing a way of recounting (all) the ways that we appear to one another—as artists, as humans—swept up in the throes of Blackness. Recognizing. Reiterating. Refusing.
Nancy Baker Cahill: An Invitation to Future Species
“What I’m especially excited to share in my own practice is a process of mutation, translation, and mediation. And so, what we’re really doing is tracing a trajectory of lines on—in this case, paper—but let’s say just a wall. I take those drawings, tear them into 3-D objects, then combine and recombine them into immersive 3-D sculpture.”
Afterlife Geographies | The Past & Other Dreams
In so far as the afterlife is accessed through the imagination, the afterlife situates what a future world might entail, and rearranges the pieces of the world, as we knew it, into a vision of the future. Afterlife Geographies considers sacred sites, sites of restoration, sites of reclamation, and sites of liberation.
Nicole Eisenman: Fantastic Worlds
Yeah, there’s definitely a lot of self-portraiture. Even the work that doesn’t look like self-portraiture is self-portraiture. My father is a psychiatrist, and a part of our dialogue together is analyzing the inner lives of various artists, how their unconscious thoughts show up in their work. Those conversations taught me to look at my work in the same way. It’s similar to analyzing a dream. It’s so interesting to me.
A Ceramic Materials Atlas
Organizing these materials in our studio is the outermost tip of a complex global distribution network of intricate webs of highways, shipping routes, rail lines, and flight paths—a planetary vascular system and neural network, a pulsing flow of matter and information covering the surface of the earth.