Architecture functions as the remnant, what’s left when the dust has settled; or architecture can be the weapon, the means by…
Images have become not only animate, but incarnate.
Seemingly insincere, jokey phrases flip and become the nexus of an argument. Concomitance carries weight. A border of an image can be like the border of a nation-state; tension accumulates at an edge. For an image, the tension lies in the difference between the logics created within the picture plane and outside it. For nation-states, it is often the same—tension between colliding desires, incompatible ways of understanding, communicating, and seeing.
July 18, 2018
On Adrian Piper
In an essay from 1988 called “The Joy of Marginality” Piper made explicit the scope and purpose of her own political and socially-critical art. “My work is an act of communication that politically catalyzes its viewers into reflecting on their own deep impulses and responses to racism and xenophobia, relative to a target or stance that I depict,” she wrote. To achieve this goal (or any goal of effecting psychological change through art), Piper thought it was essential to engage the viewer in what she called the “indexical present” of the work of art: a here-and-now created in the transaction between artist and audience. (Conversely, she expressed skepticism about the efficacy of “global political art” that attempts to educate or persuade the viewer concerning a situation represented as being external to the viewer’s own experience). In another text, “Performance: The Problematic Solution,” Piper championed the didactic and the confrontational as central aspects, or modes, of this form of artist–viewer engagement.
June 30, 2018
An interview with the designers behind Alexandria Ocasio-Cortez’s campaign
We’re in a revolutionary moment, so we went straight to the history of grassroots, civil rights, and social justice movements in search of a common language we could participate in. One that Ocasio-Cortez could participate in and that she belongs in. The most inspiring figures to us were Dolores Huerta and Cesar Chavez, the cofounders of the National Farmworkers Association. They had a positive, uplifting message about bringing power to the people. It resonated so deeply with who Sandy the person was, and who Sandy the candidate became, that it was a good fit.
January 29, 2018
The philosophy of David Hockney
In the central gallery housing Hockney’s drawings is a crayon portrait from 1974 of Andy Warhol, looking frail and a little lonely on a stuffed green chair in Paris. A comparison between the two artists, who were friends, is instructive. The parallels are clear: both gay, blond icons of Pop art, both protégés of Henry Geldzahler, both sons of working class parents, both prolific and witty writers. But here the similarities end, and the two artists begin to seem like inversions of each other. After the initial erotic frenzy of his work from the 1960s, the sexuality in Hockney’s art largely retreated behind discreet visual conventions; sex in Warhol was comparatively hardcore, particularly in his films. Likewise, the theme of death is explicit in Warhol and circumspect in Hockney. Warhol’s narrative voice is arch and elusive, willfully blank; Hockney’s direct and incisive, and at times, almost doggedly earnest. But the most striking zone of commonality and difference has to do with the way the two artists treated the issue of mechanical reproduction.
Turning the pages of the manual—A in a circle, B in a circle, C in a circle, D in a circle, E in a circle, F in a circle, G in…
September 22, 2017
On the pasts and places of Game of Thrones
What gives Game of Thrones its strange credibility and its seeming complexity, its gravity and its sense of place, its sensation of depicting a lived-in world uncannily like our own, are those cities and buildings. They’re somehow sufficiently unfamiliar-yet-familiar to seem like real old places.
September 20, 2017
On documenta 14
Obscurity of purpose; immediacy of experience; the foregrounding of a nameless parallel space, shorn of concrete social orientation: these qualities enveloped huge swathes of the exhibition. In a paradoxical turn, the greater the formal emphasis on participation, egalitarian engagement, and the banishment of hierarchy, the less political commitment, or the articulation of a clearly defined viewpoint, appeared possible. It’s a turn that has been noted before, most magisterially by Claire Bishop in Artificial Hells: Participatory Art and the Politics of Spectatorship (2012). One foregrounds a “symmetrical situation of the encounter of equals,” only to wind up with incoherence and a teleology of open-endedness. Social relations were skated over, as projects like Social Dissonance melded more or less anonymous participants into spontaneous collectives. Artists tacked on political motives as loose premises or ex post facto revelations, unintegrated into any aesthetic whole.
August 16, 2017
Why shopping centers are booming in Mexico
While malls in the US have been on a steady decline, as the industry deals with the decline in brick-and-mortar sales that bode the “death of retail,” malls in Latin America continue on the rise. This is partially because online shopping has yet to take hold as it has in the US. According to Euromonitor International, in 2016, online sales made up only 2.6 percent of retail sales in Mexico, compared with 10.5 percent in the US. The death of retail—at least for now—isn’t a reality in Latin America.
August 4, 2017
Adrift with Allan Sekula
When Sekula died of cancer in August 2013 at age sixty-two, he left behind a remarkable legacy as a photographer, filmmaker, art historian, activist, and educator, though only a fairly small—albeit distinguished—tribe of artists and academics has taken stock of it. Much of his work is united by a consistent interest: wherever capitalism sought to hawk the fantasy of an immaterial economy, or to hide its stink in refrigerated shipping freight, Sekula made it his artistic practice to visualize and to describe its mechanisms of concealment.
June 29, 2017
Zadie Smith and the problem of her single story
When black people in America are three times as likely as white people to be killed by police it becomes hard to argue that there is no clear distinction between black and white life. But Zadie Smith suggests otherwise: her ultimate argument rejecting the notion of any one group owning black pain stems from her assertion that Americans are one, that “‘us’ and ‘them’” narratives are “therapeutic,” but ultimately a “cheap gag.” It’s a galling dismissal of the brutal reality of black lives in America, where white mass murderers are apprehended alive while black unarmed citizens are arbitrarily killed. I would imagine that Kalief Browder’s family might think differently, that the black teenagers on Rikers Island, arrested without trial, held in jail and coerced into confessions might think differently. The so-called “super-predators” who became victims of the Clinton “three strikes” bill and now fill America’s prisons might think differently.
May 10, 2017
Louis Kahn’s work is accessible, minimal, simple, solid, systematic, and self-evident. It is also the exact opposite.
Buildings that call attention only to themselves generally fail at everything else. So the sustained direct attention offered by a critic or writer about a building is always already a great distortion.