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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

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

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

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

Tending to the Haints of Malaga Island

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In advance of Myron Beasley’s performative dinner on Malaga Island, Jessica Lynne reflects on trauma and the heartwork it takes to heal.

Jessica Lynne July 6, 2018 Interviews, Vol. 3, No. 3: Summer 2018

Questioning Oracle: Yoshua Okón at Colby College Museum of Art

Yoshua Okón, video still from Oracle, 2015. Courtesy of the artist.
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Yoshua Okón’s multi-channel video blurs the lines between documentary, reality, and fiction, asking participants and viewers to engage in sociological experiments that reveal discomforting questions.

Julie Poitras Santos April 27, 2018 Reviews, Vol. 3, No. 2: Spring 2018

On Vulnerability & Heavy Objects: a reflection by Gordon Hall

Gordon Hall, The Number of Inches Between Them, performance at Winter Street Warehouse, 2017.
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Gordon Hall, a New York-based artist, on ideas that surfaced around the creation of The Number of Inches Between Them, a sculpture and performance in multiple locations in mid-coast Maine.

Gordon Hall August 22, 2017 Initiatives, Vol. 2, No. 4: Summer 2017

BLOODLINES: assembling the power of the collective to challenge the heteropatriarchy

àjé collective, Cosmic Meditation, performance, 2017. Images courtesy Transformer and Martina Dodd.
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Bloodlines counters heteropatriarchic narratives of fluid and the body with work meditating on the reproductive body, emotional labor, and power. by Andy Johnson

Andy Johnson July 14, 2017 Reviews, Vol. 2, No. 4: Summer 2017

Art, Performativity, & Gender as a Tool of Capitalism in Emily Mae Smith’s “The Studio”

Emily Mae Smith, The Mirror, oil on linen, 46 x 54 inches, 2015. Image © Emily Mae Smith
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Emily Mae Smith’s art historical and illustrative paintings summon Marxist interpretations of the performativity of gender. by Frances Barker

Frances Barker July 6, 2017 Theory, Vol. 2, No. 4: Summer 2017

Presence + Polarization: Natalie Bookchin’s Portraits of America

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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.

Eden Osucha May 4, 2017 Interviews, Vol. 2, No. 3: Spring 2017

Ann Hirsch, IRL

Still from Frank the Entertainer... in a Basement Affair on VH1.
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Ann Hirsch will probably defy most expectations of a feminist artist thinking about gender, social media, and the implications of shame and display.

Jenna Crowder August 11, 2016 Interviews, Vol. 1, No. 9: August 2016

The Ambling Aesthetics of PLATFORM PROJECTS/WALKS

Angela Ellsworth: Museum of Walking, Tempe, Arizona.
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PLATFORM PROJECTS/WALKS positions Julie Poitras Santos as artist-as-curator, who has included fifteen artists and practitioners who’ll be leading walks, giving lectures, discussing readings, and presenting video works through August 14.

Jenna Crowder August 4, 2016 Initiatives, Studio Visits, Vol. 1, No. 9: August 2016

A Long Wait for Justice: dance at the end of the world

Performance still from S P E C T A C U L A R B L A C K D E A T H, 2016. Photo by Erin Colleen Johnson.
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Lia Wilson reviews the site-specificity and flattening of time of S P E C T A C U L A R B L A C K D E A T H as part of the series A Long Wait.

Lia Wilson July 28, 2016 Initiatives, Reviews, Vol. 1, No. 8: June/July 2016

Rewriting An Unrealized History of War: Fortress Brass on Fort Gorges

Photo courtesy Ken Ueno.
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Ken Ueno’s Fortress Brass employs the musical and architectural languages of wartime to imagine a friendlier, more beautiful alternative.

Jenna Crowder July 21, 2016 Initiatives, Vol. 1, No. 8: June/July 2016
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