Page 31 - Rt Critic News Today

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

What a year 2022 has been, and what have we learned? Should we ask again how fragile the nature of being human is?

The Lubbock Scapes Collective is an interdisciplinary group of university faculty from programs in cultural studies, media and communications, poetry and translation, linguistics, Spanish literature, landscape, art, and architecture. Its purpose is to break through the boundaries of “disciplines” by creating holistic projects that problematize questions of landscapes through scholarly collaborations that seek to understand, define, evaluate, and represent spaces people inhabit.

Wounded, mutilated, and dismembered by wars, ancient war sculptures—such as these of heroes of Persian, Trojan wars and embattled mythological gods—are perceived by the Museum visitors as “romantic” ruins of idealized antiquity, rather than as the horrifying forensic evidence of war’s atrocities and as the masterpieces of war art implicated in cultural perpetuation of such atrocities through their aesthetic sanctification of armed violence.   

Perhaps you, like me, know Jade Guanaro Kuriki-Olivo better as Puppies Puppies, the pseudonym-cum-persona that the artist crafted in 2010. Puppies Puppies has historically ventriloquized, masked, and absented herself, both in the context of white-cube installations and performances and in the durational performance of being Puppies Puppies.

In the wake of the feminist art movement’s emergence during the 1960s and early 1970s, the Italian-Venezuelan artist Tecla Tofano addressed the uneasy position of women working within—or against—a history that systematically reinforced patriarchal perspectives with La mujer en la historia (Women in History) (1975).