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We Write Because of You and We Write for You

This space will continue to remain unconditionally committed to the artistic visions of vulnerable communities. Women of color, undocumented persons, marginalized genders, marginalized communities, those living with disabilities, the poor, the refugee, the FOREVER emerging–we write because of you and we write for you.

Art & Colonialism: Renzo Martens Part 1

“Clearing out the way” is a labor that I am committed to. As the emergent requires new geographies, new movements, and unimaginable possibilities. I’ve decided that every few months, I will take the time to deconstruct a piece of “art” I interact with, where the only response I have is: WHY. I will consider this…

photograph courtesy of Gelare Khoshgozaran

The Emotional Is Theoretical

The question of aesthetics is a question of decisions: what makes a maker choose one thing over the other, one topic, material, medium, angle of approach, display, etc. over the many other possibilities. Whether these decisions are structural or “unconscious”, or an attempt to do away with those structures, aesthetic decisions are deeply and inherently…

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This Stays Between Us [Part I]

  Huda at the Station Nada Shalaby: An image exists of Huda Shaarawi stepping off the train in 1923, having just returned from Italy. An image exists of her with her arm extending upwards as she looks toward the gathered crowd in the foreground and on the left side of the frame. Her face is…

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The Art Of Cleaning And The Tragedy Of Mess

Cleaning people hold the world together, but our labor falls short of the recognition it deserves. Without us, nations, communities, and social orders would fall into complete disrepair. The people who maintain order through maintaining cleanliness are underpaid and undervalued. Janitors, maids, and sanitation workers ensure that the world everyone is used to gets to…

Still from Ana Mendieta's Volcán, 1979.  From Bhanu Kapil's blog post on Sep 20, 2016 with caption: "This image comes closest to what I could not speak in Ban."

Title TBD [Part I]

There’s this ancient, trite and ongoing notion that art/poetry is for the good. The good of the people, the good of the country, the good of progress (who the people are, for which countries, what good: these are side conversations brought forth by pessimists and unbelievers). For this reason, Artists and Writers do good by…

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Title TBD [Part II]

Part 2 When we think about Cauleen Smith and our Los Angeles-San Diego-Chicago connecting Skype call, we remember that we would have probably all been sitting somewhere having coffee and chatting, had things “turned out” a different way. We remember that we could have had Cauleen in Southern California as an artist and as a…

Editorial Note to Feature #2

Our second feature is one effort to undo the rationale of permanent collections. The majority of permanent museums’ collections are categorized by region and attributed to their mysterious donors, whereas the rest of the museum’s exhibitions are often curated “conceptually” and/or chronologically and/or under the banner of aesthetic movements. One could easily make an argument that area studies, and colonial geographies situate the collection development logic of the museum. Let’s tear this apart.   We asked writers and artists to create a “petty materialist” “fuck this origin” “did you know about this other provenance” guide to a collection. Or to…