With Afghanistan’s “war rugs” a traditional art form was updated in response to the country’s brutal invasions by other nations.
Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
Taylor’s paintings emphasize that golf and horse racing, though once exclusively activities for privileged white men, depended on the support of men who were almost invariably Black.
The Benjamin Files by Fredric Jameson explains everything by reference to everything else, in a way that often makes the narrative all but impenetrable.
TATTOO: 1730s-1970s. Henk Schiffmacher’s Private Collection is strong on the presentation of images, but says very little about their meaning.
Coming from a secular perspective, it seems strange to speak, in almost mystical terms, of being taken out of oneself.
Where indelible images restlessly bond with the ambiguity of words.
Monuments are built only when the political struggle they commemorate has been definitively won.
Writing a global art history demands that we give up historical thinking.
Like the international financial markets, the art museum is a controlling Western institution.
Like cabinets of curiosities from the old regime, art museums often display plunder.
Loren Munk’s “SOHO Map” offers a visual record of a densely peopled art world.