Continuing our series on art and feminism, net art theorist Jennifer Chan presents an experimental intersectional text.
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
I see intersectionality as a context and a point of departure for the different journeys that we consciously decide to take in our practices and lives as artists.
The relatively small town of Asheville, North Carolina is often described as having a “vibrant art scene,” and while this..
In response to a panel on Growth, Sustainability & Ethics at the Superscript conference, James McAnally asks if the economics of arts publishing perpetuate the exclusions in the art world.
ENTER Choir, Chelsea, Lamo, Francis and circle center stage. The circle is a ritual, centering the performers before fanning out to different stage zones.
It’s no coincidence that most artist-muse relationships do not just fall along lines of gender but also intersections of race and class, black art critics and historians have a responsibility to rescue black muses from erasure.
Rianna Jade Parker reflects on the visceral presence of Black artists for our ongoing feature with ARTS.BLACK on race and privilege in the arts.
Continuing our feature on race and privilege in art organized by ARTS.BLACK, Ladi’Shasha Jones discusses Steffani Jemison and her work engaging the emergence of Black utopias.