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Delporte looks at herself from the panoramic distance of time and perspective, to witness her life through the eyes of her new self and identity. It opens with a desire to “overwrite” the man-made images of lesbians; the rest of the book shows her reckoning with the misogynistic culture that shaped her and her embodied experience.

Notes on work in connection with the places where it is installed taken between 1967 and 1975, some of which are specially summarized here Daniel Buren

What triggered this piece were the mice. We had a big influx of field mice that summer, in the house and in the studio. They were everywhere and impossible to get rid of. They were so plentiful even the cat was getting bored with them.

As our internal conflicts are escalating at home, with the left and the right bending their own twigs on endless frictions, and pushing their ideologies as if to see how far they can go before the twig breaks and or bends and springs back, whipping their own faces, wars and violence continue to intensify abroad.

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

Is the meaningful substance of an artwork its aesthetic qualities or the circumstances surrounding its creation? Both aspects are always valid and at play, especially in painting, where one is dealing with a picture and an art object at once.

Con con/Kon kon was an ancient ritual site, connecting visually the Aconcagua, the tallest mountain in the Western Hemisphere, to the sea. It was a fishing town for millennia, a site where Sonido Rajado, Torn Sound flourished: a complex dance of flutists who play in opposing (entangled) pairs for their sound to clash, creating harmonics created by sound itself. A dissonance where all sounds become one, healing people and earth.

Alina Grabowski’s debut novel Women and Children First explores the female existence by exposing the harsh truths of sexuality, male dominance, and how class, ambition, and the secrets we try to keep hidden can ultimately pit one woman against the other.

Mary Lums exhibition, Temporary Arrangements, features fifteen acrylic-on-paper and mixed-media collages. Like those gathered for her 2022 Yancey Richardson exhibition, When the Sky is a Shape, here Lum’s works neatly employ an amalgamation of art historic devices.

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