| RECENT POSTS DATE 4/10/2025 DATE 3/31/2025 DATE 3/16/2025 DATE 3/15/2025 DATE 3/14/2025 DATE 3/13/2025 DATE 3/12/2025 DATE 3/9/2025 DATE 3/6/2025 DATE 3/4/2025 DATE 3/2/2025 DATE 3/1/2025 DATE 3/1/2025
| | | ARTBOOK FEATURED IMAGE ARCHIVE DATE 11/5/2024 Election Day 2024. What can we even say? Ultimately, we couldn't think of a better book to wait it out with than Come Alive! The Spirited Art of Sister Corita, the classic compendium from Four Corners Books. This 1966 serigraph poster reads:
Get with the action
Powerful enough to make a difference
Wine that rejoyces man's heart
For emergency use soft shoulder DATE 10/14/2024 Featured spreads are from An Indigenous Present, a superb 448-page compendium gathering more than 60 Native North American contemporary artists, musicians, poets, choreographers, designers, filmmakers, performance artists, architects, collectives and writers, published by DelMonico Books and Big NDN Press. Edited by American Mississippi Chocktaw/Cherokee painter and sculptor Jeffrey Gibson and designed by Montreal-based Cree/Nêhiýaw graphic design studio OTAMI-, this book is created from the inside out. In his introduction, Gibson writes, “It’s no secret that, at various points in my life, I’ve considered quitting being a professional artist. I’ve spoken about this publicly, and I’ve done so because I wanted to be transparent about the challenges of identifying as a Native/Indigenous artist. The historically pervasive racism of institutions and the market left me feeling like I had to do everything on my own. It was too difficult, too often, for too many reasons, but what really rattled me was the ways I’d come to accept — or perhaps ‘metabolize’ is a better word — the racism in the art world. It has taken me two decades to recognize racism’s edges, the way it feels and looks, its pervasive reach. In the art world, it is typically subtle, superficially well intentioned, and extremely polite in its delivery. In response, I have often felt a responsibility to assume the role of mediator and educator, which I’ve done as gracefully as I could in any given context. An Indigenous Present has emerged as much out of my dissatisfaction with the circumstances I have navigated during my own career as it has from witnessing artists who proudly identify as Indigenous carve out their own creative spaces and, collectively, manifest both local and international contexts for their artworks.”
ABOVE: Spreads featuring work by Dana Claxton, Nicholas Galanin and Beau Dick.  DATE 7/4/2024 In contrast to Alfred Eisenstaedt’s iconic 1945 photograph, “V-J Day in Times Square,” Amy Sherald's “For love, and for country” (2022) “decisively queers the intimate pose, swapping out a straight, white couple in favor of two black males in uniform,” Jenni Sorkin writes. “Keenly political, Sherald’s painting exemplifies the era of military policy known as ‘open service,’ in which homosexuality is no longer treated as a crime, a shameful secret or a deficiency. Floating on a bright blue background, Sherald’s couple is the embodiment of the celebratory slogan ‘out, loud, and proud’—both for love, embedded in their own chemistry, seemingly oblivious to the external world, and for country, their patriotism embodied by the white-and-blue-striped sailor shirt, topped with a jaunty red scarf knotted at the throat.” In celebration of the national holiday, this painting is reproduced from the recent Hauser & Wirth monograph, The World We Make. DATE 6/16/2024  DATE 6/6/2024  DATE 4/20/2024  DATE 3/14/2024  DATE 2/14/2024  DATE 1/25/2024  DATE 1/15/2024  DATE 1/11/2024  DATE 12/24/2023  DATE 12/2/2023  DATE 11/30/2023  DATE 11/27/2023  DATE 11/23/2023  DATE 11/20/2023  DATE 11/17/2023  DATE 11/15/2023  DATE 11/13/2023  DATE 11/12/2023  DATE 11/6/2023  DATE 11/4/2023  DATE 10/28/2023  DATE 10/24/2023  DATE 10/21/2023  DATE 10/18/2023  DATE 10/16/2023  DATE 10/14/2023  DATE 10/12/2023  DATE 10/9/2023  |
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