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Charrière’s current ambit is diametrically opposed to the preservationist idea of nature articulated by the American Transcendentalists and neo-Luddites. This is not to say pessimism has won over. The exhibition prods at the ritualistic relationship between man and nature, veering closer to the ideas of the nineteenth-century German Romantics than those of current, activist environmentalists.
Flint, Michigan native Ash Arder’s single-room exhibition, Flesh Tones, is a rhizomatic exploration of the relationship between the artist, her family, and the automotive industry. A focal point of the project is a baby shower Arder’s parents threw at the General Motors Buick City Plant in Flint, where they both worked and which the artist attended in utero.
In 2016, the playwright Sarah Gancher discovered she was following a group of Russian trolls on Facebook. Their username was Blacktivist, and they were paid by the Russian government to spread disinformation about the US presidential election. Gancher found this fascinating. She started thinking about the trolls all the time—what they ate, how they talked—until she realized why she was so interested. “They’re playwrights,” she said. “Like me.”
Clare Schneider is a writer and audio producer from California who currently lives in Brooklyn, NY.
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.