Dossier
Beverly Buchanan
Beverly Buchanan’s practice referenced southern vernacular architecture to interrogate relationships between Black people, history, and the landscape.
Che Onejoon
Che’s project makes evident how monuments are political tools that can manipulate, erase, uncover, and idealize histories, not just in one’s own country but around the world.
Thomas J. Price
In an attempt to expand the perimeters of classical sculpture, Price creates figurative works of Black men—and in this single case, a Black woman—in bronze and aluminum at various scales.
Paul Ramírez Jonas
In a nation where symbols are often divisive, Paul Ramírez Jonas reveals the potential of appropriating monument aesthetics to bring people together.
Onyedika Chuke
For New York–based multimedia artist Onyedika Chuke, the monument is plastic in form and concept.
Kelly Kristin Jones
Using the camera as a demolition tool, Chicago-based artist Kelly Kristin Jones redacts existing monuments from her photographs, offering the potential for something new in a reclaimed landscape.
Doreen Garner
Garner’s practice represents the body as muscle, fat, sinew, and blood, which bespeak an extreme vulnerability and toe the line between beauty and vulgarity.
The New Exclusionism
Catchwords like “diversity,” “transculturalism,” “pluralism” cause my antennae to go up, and warning bells of skepticism to go off in my head. Not about these ideas per se, you understand, but about the way they are being implemented in our free-enterprise society in the 1980’s.
Where is the Art World Left?
Where is the artworld “Left” in the age of “trickle-down,” homelessness, the rise of the Aryan Nation and corporate art coma: a dehumanization of art and artist into a common denominator of profit?
Interview: David Hammons
“I can’t stand art actually. I’ve never, ever liked art, ever.”