Winter 2017, Volume 19 Issue 2

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Aria Dean deliberates the non-ontology of blackness in her feature on the work of Ulysses Jenkins.

 

Kate Wolf considers Aura Rosenberg’s use of the photographic frame and the power of self-professed artifice in Head Shots (1991–1996) at JOAN, Los Angeles.

 

Josephine Graf and Dana Kopel explore confrontation, failing monuments and making the invisible visible in Andra Ursuta: Alps at the New Museum.

 

Patrick Staff recounts the intensity of intimacy through a pamphlet by late Los Angeles artist Bob Flanagan, found photographs and a reflection on caring for the queer body in this issue’s Artist's Project 5 for those who deserve it.

 

Travis Diehl pursues a path of unanswerable questions in his double review of Laura OwensTen Paintings at CCA Wattis Institute and Lutz Bacher’s Magic Mountain at 356 S. Mission Rd.

 

Bedros Yeretzian lays out the relational complexities of John Knight’s A work in situ (2016) at REDCAT.

 

Sophie Hoyle investigates virtual reality as a space for potential female sexual liberation in the work of Sidsel Meineche Hansen at Gasworks, London.

 

Maya Kóvskaya unravels the cacophony of narrative threads and their politics in the latest series of miniatures by Waswo X. Waswo.

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