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The day the Mueller Report was announced, I thought: more bad news. What a surprise. But on second thought, it was a surprise. Unfortunately, I am the sort of person who carries hope with me. Hope is like the real photograph I keep folded in my real wallet that has, over the course of several years, separated along the seam.
The photograph was given to me by someone who said, as we were hugging goodbye, “I love you.” In that moment of heightened emotion, I said it back and, I think, felt it. It was the last time we ever saw each other. Love is frequently disappointing, because people are rarely as we hope them to be. I ignore that to my detriment. No one involved in our politics, maybe Mueller most singularly, conveys emotional complexity. How could there have ever been any hope?
The photograph is old and in bad shape. It’s an elevated shot of a busy avenue, with old-fashioned cars next to a large public plaza that is, at the same time, a waterfront. It’s a beautiful image, if a little vague, and its subject is, as it is with many old photographs, longing. And this is the case partly because of the romance in which it was given to me. But I don’t carry it in my wallet out of longing for that person, or with any meaning attached. I just keep it there.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.
The new generation of artists and curators is eager to explore alternative organizations and to tackle current social inequalities and issues.
Her female nudes were extraordinary for the time because she portrayed female sexual desire. Her subjects defied conventional ideals of femininity.