Walker Downey explores sound—and the various societal, artistic, and militaristic attempts to eliminate it—through the work of Doug Wheeler, in particular his 2017 exhibition PSAD Synthetic Desert III at the Guggenheim Museum.
Dominic Johnson reviews Long Suffering: American Endurance Art as Prophetic Witness by Karen Gonzalez Rice.
As the latest addition to the Afrotropes series, Krista Thompson reflects on the extensive photographic and cultural legacy of Ivanhoe “Rhygin” Martin and the circulation of images in Jamaica and beyond.
In a new essay, Melissa Warak reviews Portraits of Courage: A Commander in Chief’s Tribute to America’s Warriors, an exhibition of the paintings of George W. Bush.
Sarah Kanouse, Jeremy Liu, Catherine Morris, and Mimi Thi Nguyen seek 500-word responses from communities of art-making, scholarship, and exhibition practice regarding public funding for the arts in an environment of heightened scarcity and competitiveness.
Scholar Suzaan Boettger traces the generative interplay between science-fiction author Brian Aldiss’s novel Earthworks and the Land art practice of Robert Smithson.
Caitlin Masley-Charlet sits down with artist Elisabeth Smolarz to discuss Smolarz’s recent residencies and projects, and the importance of failure, artistic community, and cross-pollination between practitioners.
Geeta Kapur puts forth a thirteen-part text, “Proposition Avant-Garde: A View from the South,” with critical responses by Saloni Mathur and Rachel Weiss.
Zach Kaiser presents his app CitationBomb, as well as his theory and practice of scrambling and hacking the contemporary metrics of academic success. In “overflowing the commodity market for citations,” Kaiser questions the value systems we assign to knowledge production and consumption.
The 2017 film Through the Repellent Fence looks at Postcommodity’s practice and its relation to and divergences from Land art traditions. Emily Eliza Scott explores the film and the role of art along the US-Mexico border.