In the middle of the journey of life, I found myself astray in a vast executive conference center, my pulse ramping up as it can during weekends of airports, strangers, and vertiginous hotels cold as meat lockers. I was trying to avoid a tech conference. I aimed to look intent on something, improvising a straight path, though all I was really looking for was an armchair where I could be alone with my phone.
Down one hall and up the next was nothing but evidence of other conferences: still lifes of coffee and KIND bars flanked by signs announcing plenary and breakout sessions on subjects ranging from — well, the one I remember was “Rendering.” Horses to glue. But it wasn’t as simple as that; rendering had made giant strides.
At last I found what it turned out I’d been looking for all along: an arcade. Dated, neglected, this oddly shaped chamber, lined in cola-stained linoleum contained maybe seven gaming machines, three of them lightless and lifeless. It was a floor down, visible through a slanted window, two glass doors away from a swimming pool. I zagged around and burst into it.
Virginia Heffernan’s essay continues on playtime.pem.org; join her as she rediscovers non-digital games and “all the disreputable excitement [that’s] possible with mere mechanics and electricity.”
On playtime.pem.org the Peabody Essex Museum (PEM) explores “how is play changing our lives?” with leading writers, thinkers, game designers, poets, artists— and you. Discover new writing on games and society, hear artists talk about what play means to them and see curators in action as PEM prepares to open, PlayTime, the first major thematic exhibition to explore the role of play in contemporary art and culture.
PlayTime opens at the Peabody Essex Museum (161 Essex Street, Salem, Massachusetts) on February 10, 2018.
What would it look like if museums turned their billions toward positive good instead of questionable investments simply for profit?
Patricio Guzmán combines reflection on the past, observation of the present, and hope for the future into an expansive vision of all the ideas he’s explored in his work.
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
So closely do Disney’s animators assimilate the sensibility of French design that on occasion their source material appears almost more Disney than Disney itself.
The Grand Avenue Billboard Project enables artists like Karen Fiorito to publicly express their political views.
The museum opens to the public on October 8 with a 24-hour kickoff and a rebooted California Biennial.
The report estimates that 6.7 million Indigenous objects and human remains continue to be held in Canadian institutions, most of which do not have formal repatriation policies.
Funding options at UB include full-tuition scholarships for MFA students, the Arthur A. Schomburg Fellowship Program, and additional opportunities for MA students.
The Association of Art Museum Directors announced a shift in its longstanding policy, which restricted the use of funds from sales of art to new acquisitions only.
Martín Mobarak may have broken Mexican law, but he burned the proof.
Your list of must-see, fun, insightful, and very Los Angeles art events this month, including the Maya Codex of Mexico at the Getty, Beatrice Wood, Trenton Doyle Hancock, and more.