- You should read every word of this Economist article:
“THE MEDICIS IN THE DESERT” by Nicolas Pelham
Ahmed Mater and Ashraf Fayadh were best friends. One is now Saudi Arabia’s most illustrious artist and cultural commissar. The other languishes in a dark prison. Nicolas Pelham charts their rise and fall
- Writing for Aperture about sharing, data, and photography, Marisa Olson starts with quite a lede:
In the fall of 2016, two American pop cultural icons became unwitting touchstones in the discourse surrounding the contemporary relevance of data. Naturally, I’m speaking of Kim Kardashian and Donald Trump, both reality-TV celebrities and entrepreneurs.
- Sam Lubell suggests there’s a lot architects can still learn from Tom Wolfe:
Wolfe was wrong to mock Modernism as purely utilitarian, and to let its worst abuses speak for the entire genre. And it was unfair for him to blindly abhor any style that eschewed ornament. His attack on Louis Kahn’s Yale Art Gallery as resembling an “underground parking garage,” and yet another form of “worker housing” is just one of Wolfe’s many lyrical but crude misrepresentations of the movement’s deep art and soul.
Still, Wolfe’s ear should not be underestimated, especially his still-timely attacks of the profession’s often unrepentant elitism. What Wolfe got right—and it’s a criticism that still rings true today—is his skewering of what can be an insular, snotty, tone-deaf culture, from the almost religious zealotry of the early days of Modernism to now. He ceaselessly mocked the “theoryspeak of contemporary architecture,” which still renders the profession opaque to most outsiders.
- An Incredibly Detailed Map Of Medieval Trade Routes (I love this … h/t UCLA African Studies Center Director Steven Nelson):
The high middle ages were a time when the stars aligned in terms of commerce for many areas of the world. In central Europe many German and French cities initiated annual trade fairs, some of which are still active today – most notably in Frankfurt. The Europeans have redeveloped a demand for eastern goods as a result of the crusades in Iberia and the Levant. The Italian city states and some north eastern Iberian cities had shipped the crusaders back and forth in the Mediterranean sea, building up huge fleets and setting up networks of trade all around the Mediterranean shores. The Italians frequented ports such as Alexandria, which had separate trading ports for muslim and christian ships.
This time saw the rise of the Sahelian cities, just south of the Saharan Desert. These cities became the worlds’ leading exporters of gold which stimulated all the markets of Afro-Eurasia. It is from these cities that Mansa Musa (Keita I) would later depart on his famous Hajj. The gold was mainly transported northward to the North African coast across the Saharan Desert. An eastward trade network towards Egypt and Sudan started to grow during this period.
Moving more eastward the Fatimids of Egypt and the Abbasids of Iraq are both trying to funnel the lucrative trade through the Nile and the Euphrates respectively. The Nile would eventually prove to be the better option since the Persian Gulf was starting to get a reputation for its notorious pirates.
- The New Yorker nails it:
- I follow Taylor Renee Aldridge (@TaylorRAldridge) on Twitter, and she pointed out this insightful article by Nettrice R. Gaskins about Detroit’s Techno duo Drexciya and their pan-Atlantic origin myth. Here’s part of the abstract:
This article addresses the complex conceptual framework of Drexciya, an electronic music duo from Detroit who established an origin myth based on the Middle Passage, the route for ships carrying enslaved African people from one geographical location to another across the Atlantic Ocean. Whereas the origin myth of Plato’s Atlantis ends in a permanent submersion into the sea, the world of Drexciya begins with the creation of an underwater country populated by the unborn children of pregnant African women thrown off of slave ships. Drexciya exists as a sonic third space characterised by embedded myths, the construction of culture and the invention of tradition.
- Steven Salaita pens an article on US politics and Palestinians:
Palestinians are tired of conversations about our barbarism and irrationality. We’re trying to survive exclusion and privation. We have no time to beg Zionists for approval. And we have no desire to appease disingenuous anxieties. We too have a right to live. We too should enjoy the pleasures of dignity. I cannot appeal to the conscience of my accusers because they refuse to listen, another benefit of power. I can only hope that readers whose sense of humanity transcends the narrow interests of a nation-state will reject this culture of defamation.
- Media companies — this time the Weather Channel — continue to abandon Facebook as part of their business model:
Yet another publisher screwed over by Facebook https://t.co/r7xeHULmvW
— Clara Jeffery (@ClaraJeffery) May 25, 2018
The Weather Channel quits Facebook. “We went along for the ride every single step of the way. But we noticed, over the course of two years, that we were being paid in all types of currencies — followers, shares, views — that did not feel like money.” https://t.co/9sS0JqiDki
— Deepa Seetharaman (@dseetharaman) May 23, 2018
- The NFL’s decision to potentially fine players for not standing during the national anthem has a lot of people upset, and then soon after that piece of news was announced this Nazi-era news item started circulating online:
— Haymarket Books (@haymarketbooks) May 25, 2018
— Immigrant’s Son (@Not_Fade__Away) May 26, 2018
I won’t bother you with talk about how obscenely decadent and out of touch the Frieze art fair is. And yet…
Curators Tahnee Ahtone, La Tanya S. Autry, Frederica Simmons, Dan Cameron, and Jeremy Dennis offered the public a window into their curatorial processes through the work they produced during their fellowships.
Who says tragedy has to be tragic? Co-presented with National Black Theatre, this fresh, Pulitzer-winning take on a classic centers Black joy and liberation.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Jeremy Dennis presents an exhibition to offer insight into his curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Dan Cameron presents an email exhibition to offer insight into his curatorial process.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Frederica Simmons presents an email exhibition to offer insight into their curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, La Tanya S. Autry presents an exhibition to offer insight into her curatorial process.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Tahnee Ahtone presents an email exhibition to offer insight into her curatorial process.
This week: Why does the internet hate Amber Heard? Will Congress recognize the Palestinian Nakba? And other urgent questions.
Artist Dan Jian makes the point that landscapes and memory are one and the same.