Lately I’ve found myself at art exhibitions not looking at the art, but instead giving ad-hoc lectures about mushrooms using my phone’s photo gallery as a visual aid.
New World Embassy: Rojava
The Work of the Institution in an Age of Professionalization
Slow Criticism: Art in the Age of Post-Judgement
Movement Building for Beginners
Belaboring the Fringe: in lieu of an Artist Statement
Sustainability is not Solidarity: Superscript & the Economies of Art Writing
Muse as Critic, Returning the Gaze from the Pedestal
No one cares about art criticism: Advocating for an embodiment of the avant garde as an alternative to capitalism
Essays
Articles
“What the city should give to the arts is a fraction of what the arts continually give to the city.” – Haben und Brauchen
A response to the plastic-infused stone described by geologist Dr. Patricia Corcoran, oceanographer Charles J. Moore, and artist Kelly Jazvac.
The story of Ramdom, a cultural and an artistic project born in the Puglia Region in 2011, is extremely significant for the relationships it has generated after five years of activity within the territory and the local community.
In this conclusion to the Hand-in-Glove social response, Anne Focke considers the form of Common Field and the idea of the commons as a possible structure for the burgeoning network.
Lee Montgomery considers the timely Necessary Force: Art in the Police State exhibition at the University of New Mexico Art Museum in light of recent state violence in Albuquerque and throughout the United States.
Continuing our feature on artist networks around the world, Idhar Resmadi writes about the emergence of Common Room Networks Foundation as a leading voice in Indonesia’s emerging arts community.
Anne Focke discusses the early alternative space movement in Seattle in the 1970’s, including her gallery and/or and its many offshoots, in this historical account of the arc of artists’ spaces in the period.