Deathscapes features hard data and articles pertaining to Indigenous issues and custodial deaths, and case studies and artwork responding to deaths worldwide.
Material Politics explores how socioeconomic growth, rapid gentrification, increased mobility, the rise of digital technology, and lasting colonial legacies impact the materials used in Australian art.
In the small foyer of the 8th Floor gallery, a video shows artist Carmen Papalia with a bullhorn in place of a cane — Papalia, who is blind, beckons those who pass him as he strolls the sidewalk of a busy Vancouver street, making a public declaration of his need to cross.
As we sat in a circle, Aaron Hughes began Tea by describing where he was in February 2003: watching the snow fall in his barracks while his fellow American troops were being deployed to Kuwait for the Iraq war.
HOBART, Tasmania — She glared and said, “You don’t have a photo pass so get back behind the cones.”
LOS ANGELES — A lone protestor currently occupies one of the rooms of a former apartment in Koreatown.
VENICE — When I arrived in Venice three weeks ago, I immediately headed to the tip of the Donsoduro to S.a.L.E. docks, a contemporary art space run by artist and activist Marco Baravalle. As part of its Biennale programming, the G.U.L.F. was set to have the Precarious Workers Pageant that evening.
VENICE — As folks streamed into the dimmed theater and escaped the Venetian heat, I felt a sense of anticipation. Creative Time, which has been showcasing its support of socially engaged art practices for decades, made its way into the Venice Biennale’s central exhibition All the World’s Futures, organized by Okwui Enwezor.
BRISBANE, Australia — On the flight between Pittsburgh and Detroit, I felt art’s potential: Open Engagement 2015’s socially engaged projects had responded to the national discourse on social and racial justice.