Non-Fiction

Stitching Temporalities

09/15/2018
Stitching Temporalities
Adrian Piper, Everything #2.8, 2003. Photocopied photograph on graph paper, sanded with sandpaper, overprinted with inkjet text, 8.5 x 11 inches. Private Collection. Courtesy of MoMA. © Adrian Piper Research Archive Foundation Berlin
Stitching Temporalities
Adrian Piper, The Mythic Being: I Embody Everything You Most Hate and Fear, 1975. Oil crayon on gelatin silver print. 8 x 10 inches. Collection Thomas Erben, New York. Courtesy of MoMA. © Adrian Piper Research Archive Foundation Berlin.
The following article was first published by The Seen in September 2018. Adrian Piper: A Synthesis of Intuitions 1965– 2016 collects nearly 300 individual works of the artist’s work, beginning with late-adolescent paintings, to more recent reflections on the Black Lives Matter movement. What emerges from this assembly is an ongoing interrogation of the frameworks that shape everyday experience. By employing performance, video, writing, sculpture, and photography,... +

Accumulations of Influence: Stephen Lapthisophon’s Styles of Radical Will at Sector 2337

06/23/2018
Accumulations of Influence: Stephen Lapthisophon’s Styles of Radical Will at Sector 2337
Accumulations of Influence: Stephen Lapthisophon’s Styles of Radical Will at Sector 2337
Stephen Lapthisophon, Eggbell, 2016. Mixed media, dimensions variable. Installation view, Sector 2337, Chicago. Photo by Clare Britt.
The following essay was originally published by the Chicago Review in June 2018: Stephen Lapthisophon’s Eggbell (2016) is true to its name: literally, the top cap of an eggshell sprinkled with gold metallic pigment, weighted by a thick nail, and strung with fishing line from a larger rope. This larger rope is tied to track lighting in the gallery and slopes to the floor, ending under a well-worn hardcover book as thick as... +

Heartbreaking Duplicity: Documenta 14 // Learning From Athens

09/28/2017
Heartbreaking Duplicity: Documenta 14 // Learning From Athens
Banu Cennetog˘lu, BEINGSAFEISSCARY, 2017, various materials, Friedrichsplatz, Kassel, documenta 14. Photo: Roman März.

The following article was originally published by The Seen in September, 2017.

In a sense, the Western World presumes to be (always) learning from Athens, espousing Ancient Greece as its point of origin and thereafter presuming a complex blend of familiarity, ownership, and admiration. The inscribed plaques on the gates at the... +

Joan Jonas: A Fickle Trickster Screen

08/24/2017
Joan Jonas: A Fickle Trickster Screen
Joan Jonas. Song Delay film still, 1973. 16 mm film, black-and-white, sound; 18 minutes 35 seconds. Camera: Robert Fiore. © Joan Jonas.
The following article was originally published by Art21 in August, 2017. For more than four decades, Joan Jonas’s interest in producing, emphasizing, and manipulating space and sound has remained constant in her practice. A 1972 article by Janelle Reiring in The Drama Review describes one of Jonas’s early New York performances, Delay Delay. Embedded in this review is a portrait of... +

Bettina Pousttchi // The Shifting Politics Of Material Perception

05/28/2017
Bettina Pousttchi // The Shifting Politics Of Material Perception
Bettina Pousttchi, Echo, 2009–2010. 970 paper posters on the facade of Temporäre Kunsthalle Berlin. 11 x 20 57 m / 36 x 66 x 187 ft. Courtesy the artist and Buchmann Galerie.
The following interview was originally published by The Seen in May, 2017. Based in Berlin, German artist Bettina Pousttchi is known for her work in sculpture and photography, teasing out the politics of perception, particularly as it emerges through institutionalized structures—whether the exterior of a building, or the dial of a clock. Most recently,... +