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.
photography
Katie Vida suggests a multidisciplinary way of understanding photographer Tad Beck’s three series of work in Technique/Support at Grant Wahlquist Gallery.
In Somnyama Ngonyama, Zanele Muholi uses the performativity of photography to rewrite a Black queer and trans visual history of South Africa.
Jocelyn Lee’s solo show at CMCA explores the nature of life and death and vanity. In an interview with Lee, Dylan Hausthor wonders if and how feminism, symbolism, and performance inform her work.
Mimicking the collaborative nature of the Biennial’s curation, five cultural producers in Maine gather in conversation to model the critical potential in slow looking, multiple reads, and shared dialogue.
Graeme Kennedy, in a series of community discussions, speaks with The Chart Editor Jenna Crowder and Julien Langevin about the complexities of Nan Goldin at the Portland Museum of Art.
The intangibility of memory, the diversity of grief, and the anguish of remembrance are laid bare for the public in “Anguish: The Misgivings of Remembrance” at the ICA at MECA. by Veronica A. Perez
Jessica Hankey’s photographic and video work on non-profits, community centers, clubs, and museums, investigates institutions and the relationships that constitute them. Using documentary and narrative filmmaking strategies, she investigates the unstable relationship between location, image, and perception. by Erin Colleen Johnson
In this episode, npilar interview Ruski’s Tavern owner Monica about the art on the walls of our favorite neighborhood bar. They discuss holograms, autographs, a toe calendar, and Bob Saget.
In her solo show BETTER LUCK NEXT TIME, Julie K. Gray maps her failures in attempting to “to explore the unknown through paranormal and spiritual means.” by Benjamin Spalding