Casually scanning the feeds of social media outlets, we can find Milwaukee named in a diverse collection of articles containing..
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
On the night of August 9th, I was driving north on Interstate-43 and saw “Hands Up, Don’t Shoot” spelled out..
I suggest that social transaction is the commodity of exchange—a premise that gives weight to interactions between artists, organizers, and audience—making those interactions, and the events where they take place, valuable indeed.
James McAnally reflects on the events in Ferguson following the violent death of Mike Brown by Ferguson police, the vocal protests and the subsequent burning of his memorial as a work of public mourning.
After returning from a full four days at the Central Time Centric Symposium, I was ready to call for an honest inventory of the way that the same systemic structures have permeated the forms and practitioners that were the focus of our gathering.
David Pledger argues that artists should take control of the arts with advocacy for a living wage and a national artists’ strike.
I am for an artist who vanishes takes Claes Oldenburg’s 1961 manifesto and recent developments in socially-engaged art to explore the collective life of art as it leaves the CV of the artist and enters a broader field.
Mike Calway-Fagen surveys Utopia School, BASEKAMP’s collaborative multi-city project that explores Utopian initiatives in order to create a comprehensive database for research, engagement and action.