Page 121 - Rtists News Today

James Prosek’s show Trespassers reorients the subject of the Amon Carter Museum to the Texas prairie tall grass. Knowing full well that we implicate ourselves when we observe something, that the gaze reduces both what is seen and who envisions it, Prosek returns to the earth in a post-humanist strategy of subject building—perceiving secluded worldings, where Galleta grows in the Edwards Plateau, and where Turk’s-cap Lilies bloom within the Blackland Prairie.

In 2019–2020, I worked on a project titled “Insufficient Memory.” It began when I stumbled upon the first commercially successful digital camera in my new office at Tulane University, while I was engaged in a project researching the history of queer hate crimes.

Tyriek White is the 2023 Center for Fiction First Novel Prize winner for his debut We Are a Haunting. Set in East New York, Brooklyn, the novel follows Colly, a teen growing up in public housing who is left under the guardianship of an absent father when his mother dies from cancer. But since Key and Colly possess the same supernatural ability to see and communicate with the dead, they continue their bond even after her death. The novel alternates between Keys life in New York in the eighties a...

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

This is a playful exercise in freedom for this artistic couple, opposite the formal presentations normally required as part of their lengthy, well-established professional careers. Here, we are drawn into the midst of their creative processes.

The man often comes through in the notebooks, ideas for books to write, things to tell to other musicians like Davis and Mingus, a reminder of the right size suspenders to wear, admonishments on how he’s treating himself. His thinking about himself in the notebooks is self-critical, but there’s no direct line from this to the ideas that come out through his horn. But that’s the elusiveness of the great artists, they are great because they think of things others can’t, and it&...

Let Gaza live! So we all shout Let Gaza live! The LAPD has shown up: about twenty cars at once. There will be forty of them by the time we are under arrest. The crowd has stopped attacking us. There is a kind of relaxing, like the motorcycles expelled from the highway had represented a gastric build-up, a burp. It’s settled. Let Gaza live! we shout.

Craig Starr has often exhibited Ed Ruscha’s work, with a number of highlights including a 2005 survey of Ruscha’s “Standard Stations,” a 2007 review of Ruscha’s “Gunpowder Ribbon Drawings,” a 2018 trek through the artist’s monosyllabic word paintings, and a 2021 showcase of Ruscha’s “liquid words” from the late 1960s. The gallery’s current Ed Ruscha: Works on Paper comprises a modest sampling of pieces from these past exhibitions alongs...

I’m writing the introduction to this month’s Critics Page as the year 2023 is coming to an end, a year in which I’ve spent much time with the idea of queer heartbr(ache). It began when my friend and cosmic mirror (our birthdays are exactly six months apart) Le’Andra LeSeur and I had our first significant heart to heart about recent breakups that had left us tender.

Erin Pérez writes poems and is the co-creator and co-editor of Leak Magazine alongside Tyhe Cooper.