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,... +
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... +
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... +
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... +
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,... +