Bloodlines counters heteropatriarchic narratives of fluid and the body with work meditating on the reproductive body, emotional labor, and power. by Andy Johnson
Emily Mae Smith’s art historical and illustrative paintings summon Marxist interpretations of the performativity of gender. by Frances Barker
Donna Haraway shows us we need new ideas and new ways of thinking, new kinds of stories to think with, because the old ones are failing us. by Julie Poitras Santos
Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin
Creating public art — and public art conferences — requires deep, internal work as much as it does communication, planning, passion, and dedication. by Jenna Crowder
Lustfully saturated with lucid color and lively tricks of the eye, Elizabeth Kleene’s Tadow Island at Gallery 49 allows viewers to experience an external oasis. by Julien Langevin
Terry Winters and Mark Melnicove collaborate on a suite of prints exploring the relationships between image and word in the physics of space and time. by Megan Grumbling
Eden Osucha speaks with filmmaker Natalie Bookchin about the phenomenon of video self-portraiture in the internet age, and what it means for resistance and identity.
Chris Stiegler explores process, objecthood, and relationships in three exhibitions at the Center for Maine Contemporary Art.
On announcing Nat May as the curator for the 2018 PMA Biennial, PMA Deputy Director and Chief Curator Jessica May says, “His research is meticulous, his eye is keen, and his curiosity is unbounded.”