Weekend

Required Reading

This week, a gigantic Katharina Grosse in Sydney, Anuradha Vikram on radical of women, Trevor Paglen on the changing nature of contemporary images, talking to Haitian art collective Ti Moun Rezistans, and more.

The newest work by German artist Katharina Grosse fills an entire warehouse at Sydney’s Carriageworks contemporary art center. The work, “The Horse Trotted Another Couple of Metres, Then it Stopped,” uses nearly 90,000 square feet of painted fabric. More images on Colossal. (via Colossal)

What vision of female liberation and modernity might women dream for themselves? Radical Women showcases a range of politically engaged artworks by female-identified artists, focused on resistance to the military dictatorships between 1965 and 1980, but the show makes clear that sexual assault is a tool of state power. Numerous artists—including Ana Mendieta, Anna Maria Maiolino, María Evelia Marmolejo, Dalila Puzzovio, and Margot Römer—draw connections between individual acts of violence against women and the will of an oppressive state bent on squashing dissent. Furthermore, in works by Mendieta, Sara Modiano, and Graciela Gutiérrez Marx, the rape of the female body is likened to capitalism’s exploitation of the Earth’s resources; ecological conservation becomes an essential space of liberation. In contrast with Tiqqun’s “eco-Young-Girl,” who laments the violence of capitalist exploitation without impeding it, approaching activism as yet another act of consumption, these artists propose that simply living an unfettered, sustainable life on one’s own terms is the ultimate radical act.

LA was an odd choice for an artist who had been a pioneering figure in the French capital, then the centre of the international art world. “Most of the surrealists who left Europe during the war came to New York,” explains Max Teicher, curator of Man Ray’s LA, a new exhibition of Man Ray’s photography taken between 1940 and 1951, at the Gagosian Beverly Hills. “Some of his best friends, [Marcel] Duchamp, [Salvador] Dalí, all went to New York. He made the very distinct decision to go to Los Angeles. He was the only one who did that.”

But over the last decade or so, something dramatic has happened. Visual culture has changed form. It has become detached from human eyes and has largely become invisible. Human visual culture has become a special case of vision, an exception to the rule. The overwhelming majority of images are now made by machines for other machines, with humans rarely in the loop. The advent of machine-to-machine seeing has been barely noticed at large, and poorly understood by those of us who’ve begun to notice the tectonic shift invisibly taking place before our very eyes.

… Cultural theorists have long suspected there was something different about digital images than the visual media of yesteryear, but have had trouble putting their finger on it. In the 1990s, for example, there was much to do about the fact that digital images lack an “original.” More recently, the proliferation of images on social media and its implications for inter-subjectivity has been a topic of much discussion among cultural theorists and critics. But these concerns still fail to articulate exactly what’s at stake.

SG: How did learning a new technique like relief printmaking affect you? What did it feel like to create self-portraits?

LI: Your self-portraiture workshop was a good way to prove to our own Haitian people that we can create beautiful images that reflect our identity. I’ve been part of several expositions in Haïti, but it is different to work with foreign artists who then become friends. I do not want to stop living in my country. Your workshop and the Ghetto Biennale are platforms to produce work based in Haiti.

LL: We were all happy to participate in your printmaking workshop because it was the first time we had come together to learn self-portraiture. Even though it was my first time carving out of linoleum, it was extraordinary to be part of such a beautiful project.

Why would people in his own community have a problem with Campos starting a business? Some are calling it GENTEfication, a term that marries the word “gente”, Spanish for people, with gentrification.

After meeting Clifford at a golfing event, Trump invited her over to his hotel for dinner. She says that when she arrived at his suite, he was lying on the couch wearing pajama pants and watching television. After they ate, Daniels excused herself to go to the bathroom, and when she came back, that’s when—well, I’ll let her explain:

“He was sitting on the bed, and he was like, ‘Come here.’ And I was like, ‘Ugh, here we go.’ And we started kissing. I remember thinking, ‘I hope he doesn’t think I’m a hooker.’ Not that I have anything against hookers. I just personally have never done it… [The sex was] nothing crazy. It was one position, what you would expect someone his age to do.”

She went on: “I don’t even remember why I did it but I do remember while we were having sex, I was like, ’Please don’t try to pay me’… And then I remember thinking, ’But I bet if he did, it would be a lot.’”

The study claims falling book prices, sales and advances mean that literary authors are struggling more than ever to make a living from their fiction. In today’s market, selling 3,000 copies of your novel is not unrespectable – but factor in the average hardback price of £10.12 and the retailer’s 50 per cent cut, and just £15,000 remains to share between publisher, agent and author. No wonder that the percentage of authors earning a full-time living solely from writing dropped from 40 per cent in 2005 to 11.5 per cent in 2013. To avoid novel-writing becoming a pursuit reserved for those with independent means, ACE suggests emergency intervention: direct grants for authors and better funding for independent publishers and other organisations.

Required Reading is published every Sunday morning ET, and is comprised of a short list of art-related links to long-form articles, videos, blog posts, or photo essays worth a second look.

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