A person, artist Hiwa K, is seen against an urban background, tying motorcycle mirrors to a metal pole.

Belonging without a Home: Hiwa K and Amin Alsaden in Conversation

Amin Alsaden speaks with Hiwa K about conflict, displacement, and the “pre-image”

Person with stereotypical female body holding skull of large deer in front of their genitals with an antler in each hand

Confronting the Discipline’s Past and Imagining Alternate Futures: Realizing Future-Facing Art Histories through a Graduate-Level Methods Seminar

The first in a series on post-pandemic pedagogy

A montage of images on a black background.

Through the Guillotine Mirror: Claude Cahun’s Theory of Trans against the Void

Investigating the gender-transgressing work of Claude Cahun and Marcel Moore

Sensing, Sensitizing, and Speculating: The Work of Artworks in the Climate Crisis Era

Nicole Seymour reviews a new volume on art in the time of climate change

Feminist Interview Project: Senga Nengudi in Conversation with Daisy McGowan

Artist Senga Nengudi discusses her career and the significance of collaboration

Photograph of green tropical forest with circular collage cutouts of high-rise buildings in Chicago (left) and Singapore (right). Colorful lines intersect at the center of the image.

Peripatetic in the Pandemic

Taking an intercontinental sound walk through the pandemic

Image of the cover of A History of Arab Graphic Design

A Kaleidoscopic Overview of Graphic Design from the Arab World

Huda Smitshuijzen AbiFarès reviews

Condition—Contact—Conversation

Tom Denman on the exhibition UNTITLED: Art on the Conditions of Our Time

Image of male torso and arm holding a woman's head

Rotimi Fani-Kayode and Eikoh Hosoe

Surrealism and the Specter of Death in the 1980s

A photograph of a detail of a sculpture composed of repurposed objects. The photograph shows one of these objects, a marble bust of a young girl, on whose face and chest the artist has written “‘Portrait of a Young Girl’ by Thomas Ball, who also sculpted the Emancipation Memorial. Known as the Freedman’s Memorial, it was paid for by formerly enslaved people and depicts Lincoln ‘freeing’ a kneeling, enslaved African American person while holding the Emancipation Proclamation. Ball initially hired a Black model but fired him because of ‘the unpleasantness of being obliged to conduct him through our apartment.’ Ball then used himself as a model but was eventually persuaded by the commission to work from a photograph of a formerly enslaved Black man named Archer Alexander. In a dedication speech for the memorial, Frederick Douglass said: ‘Truth compels me to admit… Abraham Lincoln was not, in the fullest sense of the word, either our man or our model. In his interests, in his associations, in his habits of thought, and in his prejudices, he was a white man.’ Douglass noted that Lincoln was motivated more to save the Union than to free slaves and that he ‘strangely told us that we were the cause of the war.’ In December 2020 the Boston Art Commission voted unanimously to remove the city’s copy of the statue after a public debate determined it reinforced a racist and paternalistic view of Black people.”

Monuments as Monsters: Michael Rakowitz and Erin L. Thompson in Conversation

Smashing statues

Bodybuilding

Make your own book with poet and artist Anaïs Duplan

Feminist Interview Project: Christine Sun Kim in Conversation with Tabitha Jacques

The first in a series on practice and futures