What happens when an arts bureaucracy steps away from “data-driven” evaluation of its program? Writer Sarah Butler recounts her collaboration with visual artist Nicole Mollett on a unique commission from Arts Council England.
David Markus investigates a video work set in a Trump-branded condo and analyzes superluxury living in relation to material culture, consumer desires, and the political inclinations they index.
Ellen Tani explores how an incidence of police brutality in the Harlem of 1964 is deployed in artworks by musician Steve Reich and visual artist Glenn Ligon.
Anneka Lenssen reviews two recent books on photography in Lebanon.
In the predigital era, an experiment in community-based virtual network building is launched in Los Angeles. Philip Glahn and Cary Levine uncover the activist collective Mobile Image’s project of 1984, Electronic Café.
Edith A. G. Wolfe on two recent studies of “discrepant modernities” in Latin America
Sarah Kanouse brings to a close the Beyond Survival series, which probes the effects of sustained precarity, a diminished funding landscape in the arts, and institutional relations to socio-ecological urgencies.
C. C. McKee examines the materiality and significance of salt in Deborah Jack’s art practice and poetry.
In the final entry in a series of contributions, Hannah Star Rogers gathers reflections from Alice Smits and Judith van der Elst on the 2018 convening of the Helsinki-based Bioart Society.
María Laura Rosa on how Alicia D’Amico’s images of female desire reflect “dissident and destabilizing identities in the heteronormative visual imaginary.” (In English and Spanish.)
Artist Luca M. Damiani reflects on his creative responses to and interpretations of the hearing conditions tinnitus and hyperacusis.
Using Axis Lab—the Chicago-based interdisciplinary arts organization she helped found—as a case study, Patricia Nguyen explores the intricacies of funding and establishing networks of community support.