Page 39 - Rt Critic News Today

Dana James creates harmony out of contrasts. In mixed media, abstract paintings, she varies her mark-making, ranging from luminous, cloud-like layers to sparse dashes of distinct, bold brushstrokes. She combines materials, sometimes adding paper and metallic foil, and using oil, acrylic, encaustic, pencil, pastel, and pigment.

The exhibition curated by Fernanda Brenner brings together a vast range of media, as well as artists from different contexts and career stages. Its title comes from a letter by the poet Paul Celan written in 1960.

In 2016, Apple replaced the design of its “gun” emoji. Banished from keyboards and screens worldwide was the gray revolver; in its place was a fluorescent green squirt pistol. Other platforms followed suit. For some, the switch amounted to censorship.

The height was my height, I thought. I carefully considered the wooden structure that carved out the center opening. Small pieces of ink drawings were tucked in one corner or another, hunching and gleaming. Monsters grimace like cautionary road signs.

No Indiana Jones franchise, the films serious tone is a refreshing shift away from the tomb-raiding action adventure genre. The film follows Arthur, who returns home after serving a stint in prison for robbing Etruscan tombs.

Ewell’s core idea is a critical look at his own field, which he describes as founded on and controlled by the framing of white scholars who have not only been incapable (due to their racial and social backgrounds) of seeing the assumptions on which their scholarly values are built, but have made the field an expression of white supremacy, in part by crowding out other scholars and subjects.

The book opens with the fictional Collins Family Tree, handwritten by Sanders’s own mother, priming the reader for the intimacy of the words to come. Yet paired with that intimacy are characters concerned with the role perception may play as they strive to forge their path in a world that’s not always welcoming. The characters in this collection are either members of the Collins Family, a multigenerational Black family spread across the Northeast, or in their orbit.

Barkley L. Hendricks’s paintings shine with a kind of affect that one is inclined to call “beautiful.” And, indeed, they are. Yet they are loaded with something too tense, too bristling with heat to fit neatly into such a definition: something else is here, too.

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 following interview was conducted by Komite in English and subsequently translated into Turkish, to be published on their web platform in two parts.1 Komite is a Turkish collective of socialist militants who call for a break with the corrupt and inefficient institutions of the existing Turkish labor movement, mobilizing class politics to militate against the sweatshop regime of neoliberal globalization and the political oppression conducted by the current government.