As I sat comfortably inside the respected contemporary gallery on a grayish afternoon, two visual artists replied to questions and comments about their work. Intentions were discussed, free white wine poured.
The crisis of higher education is not unique to the arts. However, artists in particular sit at the crux of this broken system more than most people in other fields, in part because the arts have the largest debt to job prospect ratio.
Over the next year we will pursue parallel narratives under the framework Unstable States, New Constitutions in our first long term feature. Through this itinerary we aim to study our increasingly global instability as a method of learning and unlearning the present and gather the constellations and speculative forms rising from this constant state of crisis. We ask: Can this unprecedented moment of dissolution also be an opportunity for rearticulation and rearrangement?
For the month of September, guest editor Samuel Hertz has assembled a group of artists/theorists whose work focuses of re-imagining ideas and forms of perception. He asks: Is there a sensible way to speak about perception as a political act? Are there methods of performance that identify and enact new political and global sensitivities? What does a focus on perceptive practices add to conversations about re-thinking institutions, senses, sexualities, ecologies, and aesthetics?
Is the act of painting a polite refusal against the instrumentalization of labor and knowledge? https://t.co/q2FasdaOBf