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Category Archive: Issues

Letters and Souvenirs: Elizabeth Atterbury in conversation with Gordon Hall

A detail of an embossed print of various shapes on white paper. The shapes, which are not inked, include a silhouette of someone smoking a pipe, a palm frond, a tube sock, wavy Xs, zig-zag shapes, geometric curves, and more.
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On the occasion of Elizabeth Atterbury’s solo exhibition at DOCUMENT, Atterbury speaks with Gordon Hall about the connections between object-making and death, arrangements and memorials.

Gordon Hall January 7, 2021 Interviews, Vol. 6, No. 1: Winter 2021

A Detective in the Anthropocene: in the studio with Asata Radcliffe

At night, we see the blue glow of a house-shaped sculpture, illuminated from within. The sculpture sits on a pedestal in front of a wooden fence, with small blue glowing orbs scattered on the ground around it.
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Interdisciplinary artist Asata Radcliffe looks to futurisms, science fiction, land ethics, and dharma in her work and writing. Hilary Irons visits Asata in her studio to delve into her detective-like approach.

Hilary Irons December 11, 2020 Studio Visits, Vol. 5, No. 4: Fall 2020

Walking Portland: A Reflection on “ecologies of the local”

A view of a bend in the Presumpscot River just after dawn. Sunlight is just beginning to light up the trees that frame the rocky riverbanks, and there is a layer of white mist that sits on top of the dark water, which reflects the stones along the bank, the trees, and some sky above.
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Julie Poitras Santos’ PLATFORM PROJECTS/WALKS: ecologies of the local offered artist-led walks for the public to get closer to the ecologies of which they are a part. Elyse Grams reflects on six of the walks she attended and what she learned about the land, its history, and herself.

Elyse Grams November 20, 2020 Essays, Vol. 5, No. 4: Fall 2020

Presence, Performance, and Pregnancy

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Jacquelyn Gleisner, The Chart’s 2019 Critic in Residence, considers a history of performance art and its request for “noble attention” throughout her pregnancy.

Jacquelyn Gleisner October 21, 2020 Essays, Vol. 5, No. 4: Fall 2020

Regarding the Relevance of Art

The following text appears in white letters on a reddish-brown background: Bukola Koiki, Critical Communion
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“Art is relevant because it is human.”

Grant Wahlquist July 24, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

What The Pandemic Reveals About Future Opportunities for Accessibility in Craft

The following text appears in white letters on a reddish-brown background: Bukola Koiki, Critical Communion
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“Times had changed. We had to adapt and so did Craft.”

Bukola Koiki July 20, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

A New World World

The following text appears in white letters on a reddish-brown background: dayday, Critical Communion
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“Will you join me in a new world?”

dayday July 15, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

What revelations or rebirths are underway?

The following text appears in white letters on a reddish-brown background: Eli Nixon, Critical Communion
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“An unexpected benefit of giving up.”

Eli Nixon July 10, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

On Refusal & Better Questions

The following text appears in white letters on a light green background: Shaun Leonardo, Critical Communion
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“Who have we not been paying attention to?”

Shaun Leonardo July 3, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

Critical Communion: an introduction & call for submissions

The following text appears in white letters on a pink background: Introduction, Critical Communion
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Critical Communion gathers critical responses toward ideating the future based upon mutual participation, sharing, and intimacy.

Jenna Crowder July 3, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

In This Time of Survival and Into the Future

The following text appears in white letters on a pale blue background: Theresa Secord, Critical Communion
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“As Indigenous artists, our ancestors possessed remarkable resilience to overcome pandemics, extermination policies, and staggering land losses due to broken treaties.”

Theresa Secord July 3, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

Five Days in Spring

The following text appears in white letters on an orange background: Gelare Khoshgozaran, Critical Communion
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“How does one prepare for mourning?”

Gelare Khoshgozaran June 28, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

The Empaths

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Hilary Irons finds a major theme of empathy and connection in the work of seven graduates from Maine College of Art’s MFA program, highlighting how artists are responding to the precarity and isolation of the world and setting out to change it.

Hilary Irons May 15, 2020 Reviews, Vol. 5, No. 2: Spring 2020

Daniela Rivera’s Labored Landscapes

In the large gallery of Daniela Rivera's exhibition "Labored Landscapes (where hand meets ground)" we see three dark walls and a wood floor. Each wall has a single painting of a giant pair of hands; each pair of hands is gesticulating as in mid-conversation. The body to which the hand belong fades into the black canvas and the dark wall color.
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Julie Poitras Santos reflects on monument, labor, and silence in Daniela Rivera’s recent exhibition at the Fitchburg Art Museum.

Julie Poitras Santos February 25, 2020 Reviews, Vol. 5, No. 1: Winter 2019/2020

The Affidamento of Bianca Beck and Sascha Braunig

Installation shot of Extra Spectral, with a collaborative sculpture in the foreground: Bianca Beck & Sascha Braunig, Untitled, 58 x 54 x 29 in wood, wire, papier-mâché, acrylic, oil, and epoxy, 2019
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Bianca Beck and Sascha Braunig’s two-person show at SPACE explores the political and feminist power of difference.

Jenna Crowder January 7, 2020 Reviews, Vol. 5, No. 1: Winter 2019/2020

Attending to Attention: Michael Figueroa’s “This is why we can’t have nice things” at SPACE

The five commissioned dancers for This is why we can't have nice things are young white women who are bathed in red light. Two are in all black street clothing, kneeling, and three are standing behind them, two in all-black clothing, and one, on the right, in all white gym clothes.
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Grant Wahlquist reflects on Michael Figueroa’s commissioned dance work for SPACE and Portland Dance Month and asks, when is too much too much?

Grant Wahlquist December 21, 2019 Reviews, Vol. 5, No. 1: Winter 2019/2020

To Name a Stone You Hold in Your Hand: the films of Ciccarello & Cartelli

Philip Cartelli and Mariangela Ciccarello, Lampedusa (still), produced by Sensory Ethnography Lab/Nusquam Productions, HD video and Super 8mm film, 14 minutes, 2015.
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Megan Grumbling previews two short films by Mariangela Ciccarello and Philip Cartelli that trace geologic and migratory histories in the Mediterranean.

Megan Grumbling September 21, 2019 Reviews, Vol. 4, No. 4: Summer 2019

Building Blocks: Toward a Translation of Artists’ Books at the Center for Book Arts

Zeina Barakeh, Homeland Insecurity (still), animation, 9:47 min., 2016. Courtesy the artist.
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Writer and curator Ikram Lakhdhar looks at a selection of artworks in “Poetry is Not a Luxury,” an exhibition at the Center for Book Arts, to find her own histories emerge from the works on view.

Ikram Lakhdhar September 20, 2019 Reviews, Vol. 4, No. 4: Summer 2019

Resonant Frequencies in Tad Beck’s “Technique/Support”

Tad Beck: Technique/Support, installation view at Grant Wahlquist Gallery
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Katie Vida suggests a multidisciplinary way of understanding photographer Tad Beck’s three series of work in Technique/Support at Grant Wahlquist Gallery.

Katie Vida September 1, 2019 Reviews, Vol. 4, No. 4: Summer 2019

Hail the Dark Lioness: Zanele Muholi at Colby College Museum of Art

Zanele Muholi, Julile I, Parktown, Johannesburg, 2016 © Zanele Muholi. Courtesy of Stevenson, Cape Town / Johannesburg and Yancey Richardson, New York
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In Somnyama Ngonyama, Zanele Muholi uses the performativity of photography to rewrite a Black queer and trans visual history of South Africa.

Dylan Hausthor June 8, 2019 Reviews, Vol. 4, No. 3: Spring 2019

Food, Mundanity, Devotion: Flavor Profile at Border Patrol

Ruby Jackson, Untitled. Ceramic, bubble gum, foam. 14x20x17in. Photo by Joel Tsui.
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Flavor Profile eschews the romanticization and elitism of foodie culture to explore more tender, humanist relationships of food.

Olivia Canny February 25, 2019 Reviews, Vol. 4, No. 2: Winter 2019

On Darkness and Desire: Alison Hildreth & Juliet Karelsen in conversation

Alison Hildreth, installation view at SPEEDWELL projects, including "Flight," (front), glass bats, glass elements, carborundum, assorted elements, 4’ x 6’ x 12', as configured 2018.
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Artists Alison Hildreth and Juliet Karelsen discuss the twin concepts of darkness and nature on the occasion of their consecutive exhibitions at Speedwell projects this winter.

Alison Hildreth and Juliet Karelsen January 8, 2019 Interviews, Vol. 4, No. 2: Winter 2019

Ritual Insider/Ritual Outsider: Gina Adams on art & the archive

Installation view of Gina Adams' exhibition, "Its Honor is Hereby Pledged: Broken Treaty Quilts” which ran from June 26—July 22, 2018, in the Jaffe-Friede Gallery at Dartmouth College.
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“I am a fourth-generation quilt maker”: artist Gina Adams talks with critical ethnographer Myron M. Beasley on archaeology, archive, and the arts.

Myron Beasley December 12, 2018 Interviews, Vol. 4, No. 1: Fall 2018

Postcards from Home: on Art Practice, Immigration, & Domestic Work

Carolina González Valencia, from How to Clean a House: a Family Album (2018, Orbis Editions)
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Cecilia Cornejo Sotelo speaks with Carolina González Valencia about her new publication, How to Clean a House: A Family Album, a 20-page book of postcards that combines instructions on how to clean someone’s house as a domestic worker with milestones from the migration experience of the artist’s family.

Cecilia Cornejo Sotelo November 26, 2018 Interviews, Vol. 4, No. 1: Fall 2018

Floating Through Silence and Noise: Anna Hepler & Jon Calame’s “Trespasses”

Work by Anna Hepler, from "Trespasses" (Orbis Editions, 2018).
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Hilary Irons speaks with Anna Hepler and Jon Calame on their forthcoming artist book, “Trespasses,” in an interview that plays with the “danger and slippage” of both written and visual languages.

Hilary Irons October 29, 2018 Interviews, Vol. 4, No. 1: Fall 2018

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