Christina Sharpe's Appeal to South Africa

A call to reinstate Gabrielle Goliath's Venice Biennale pavilion, Ana Mendieta’s earthworks, and the California College of the Arts is no more.

How could the same government that brought Israel in front of the International Court of Justice to answer for its war crimes in Gaza also censor an artist's performance about Palestinian grief? The answer to that has to do with the choices of South Africa’s right-wing Arts and Culture Minister Gayton McKenzie.

In a must-read opinion piece today, writer and scholar Christina Sharpe and University of Buffalo professor Rinaldo Walcott rebuke McKenzie's decision to cancel artist Gabrielle Goliath's piece Elegy for the national pavilion at the upcoming Venice Biennale, calling it a "betrayal" of the legacy of the anti-Apartheid struggle. I can't recommend it enough.

Hakim Bishara, editor-in-chief


A visitor at Personal Accounts (2024) by Gabrielle Goliath at the previous Venice Biennale exhibition in April 2024 (photo by Gabriel Bouys/AFP via Getty Images)

The South African Pavilion Is Betraying Its Own History

"South Africa’s cancellation of Elegy threatens to join the ignoble set of actions meant to disappear Gaza and Palestinians from the art world’s public sphere," write Christina Sharpe and Rinaldo Walcott. "To say that this action is like a tremor from the trauma of the genocide-in-progress is not to overstate the shattering effect of an official acting as a censor on behalf of the same government whose case against Israeli acts of genocide compelled the world to bear witness."


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Peter Waite: Social Memory, Paintings 1987-2025

Absence is a presence in paintings by artist Peter Waite. Large-scale architectural scenes capture the beauty and poignancy of overlooked corners, faded surfaces, and traces of life that remain when people are gone. On view through March 15, 2026, at The Wadsworth in Hartford, Connecticut.

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The California College of the Arts is the only remaining private art college in the Bay Area. (image courtesy CCA)

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Grow as an Artist Without Pressing Pause: SVA’s Online MFA Art Practice

Interdisciplinary, online, and connected to New York’s art ecosystem. Applications are due on January 15.

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From Our Critics

Ana Mendieta, "Silueta Sangrienta" (1975), C-print (© The Estate of Ana Mendieta Collection, LLC, licensed by Artists Rights Society (ARS), NY; photo by Alex Yudzon, image courtesy Marian Goodman Gallery)

Ana Mendieta’s Injured Earth

Although many of her earthworks have been erased by time, the late Cuban-American artist’s interventions attest to her continued presence, etched into the land. | Natalie Haddad

Black Artists Create New Universes in “Unbound”

The exhibition at the Museum of the African Diaspora moves between history and futurity without settling on a singular narrative of the universe, instead prompting reflection. | Alexandra M. Thomas


Member Comment

Willa Lewis on Isabella Segalovich's "The Nightmares Beneath the Surface of 'Dreamworld'":

Fascinating review. Could have a future piece about separating the art from the artist (think Woody Allen?). I love an exhibit that gives information about the creator. Too bad Philadelphia seems to have blown it this time.

Opportunities

Keisai Eisen, “Winter Landscape” (Edo period, 1615–1868), woodblock print, ink and color on paper (image courtesy the Metropolitan Museum of Art)

Opportunities in January 2026

Residencies, fellowships, grants, and open calls from Haystack Mountain School of Crafts, the John Michael Kohler Arts Center, and more in our monthly list of opportunities for artists, writers, and art workers.