Reviews
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.
Tiffany Smith: Back Home
During my first meeting with artist Tiffany Smith, she showed me a photograph of her grandmother. It was a black-and-white...
Choreographies of the Impossible, the 35th Bienal de São Paulo
Inhabian, Filipina goddess of wind, blows air up a wooden Marilyn Monroe’s skirt. Mickey Mouse dons a Darth Vader-style helmet,...
I Like It Hot: Red, White & Royal Blue
Please forgive the obvious circularity of this statement when I say that, despite my perception of the film’s marketing as...
Amanda Grae Platner: It’s Still Not Me, It’s You
In It’s Still Not Me, It’s You at Atlanta’s Echo Contemporary Art, Platner’s self-portraits and installations invite the viewer into her world. She coaxes empathy through a variety of strategies, some that are playful and interactive, others that involve showing pain.
Arata Isozaki, Re-Ruined Hiroshima, Photomontage, 1968
Repeated throughout his career and intoned almost like a dirge, the potent phrase “The city of the future lies in...
Flipper, Cousteau, and Homo aquaticus
The broadcast of Flipper and Jacques Cousteau’s documentaries introduced audiences to a seemingly alien world. But these popular shows sought...
The Population Bomb in the Rearview Mirror
“The battle to feed all of humanity is over. In the 1970s and 1980s hundreds of millions of people will...
Series Collapsed by MPA
Infinity had to start somewhere. ∞, also known as the lemniscate, the ouroboros, or the “lazy eight”—often a line with...
Erasing Pronouns: Beatriz Santiago Muñoz’s Ottilia
The women say that of her song nothing is to be heard but a continuous O. That is why this...