Volume 2 : Issue #22

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Feature

By Tom McGlynnSeptember 22, 2014 0

Christopher Williams: The Production Line of Happiness” at MoMA

What happens when interlocking systems of institutional assumptions about aesthetic valence are deployed as an over-mined field of critical data? How does a shopping list of representative art historical tropes morph into a dynamic rhetorical narrative to unpack those very…

Feature

By Eunice Hurd & Maja OrsicSeptember 22, 2014 0

Video Profile: Sarah Malakoff

Nest. Cave. Den. When we speak about our homes, the spaces we have carved out for ourselves in the world, we speak of them in terms once reserved for animal habitats. Like crows and magpies, drawn to bright plastics and…

Articles

By David CurcioSeptember 22, 2014 0

The Boxing Lithographs of George Bellows at The Boston Public Library

By David Curcio George Bellows said, “I don’t know anything about boxing, I am just painting two men trying to kill each other.” What underlies the attraction to such violence? As a reenactment of Freud’s postlapsarian, atavistic death instinct outlined…

Articles

By William J. SimmonsSeptember 22, 2014 0

On Second (Wave) Thought: Jeff Koons’s Feminisms

In a recent article in The Brooklyn Rail, Chloe Wyma argues against what she sees as the commodification of feminism through the institutionalization of key artworks like Kara Walker’s A Subtlety or the Marvelous Sugar Baby (2014) and Judy Chicago’s…

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