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Entries in Frieze (21)


Chris Kraus's Social Practices in Frieze

"I wish we didn’t have to read Chris Kraus, and this week I read her aloud to my students, quoting passages on Kate Newby, Henry Taylor and Channa Horwitz, all from her new book Social Practices (Semiotext(e) 2018)Kraus’s criticism is generous and warm. But, it is written from a world I wish we didn’t live in..." So begins my review of Kraus's new volume of collected criticism in Frieze, where I move from teaching to stripping and my dreams for my students in the era of Brett Kavenaugh and Blasey Ford, as well as how Chris Kraus got me to start writing, to start seeing myself as a writer when I was in my early 20s... Read more here.


Pounding down the walls at the NMWA for Frieze Masters

A sticker of Camille Claudel is on my collar and a woman is pounding at a wall; another, with dirty feet and a red party dress, is crawling the walls and slithering over shelves. In the next gallery, a house sprouts from a marble woman. Meanwhile, men in heavy-framed glasses and 1970s suits shake their heads, as if passing judgment on all that surrounds me. I’m at the National Museum of Women in the Arts in Washington, D.C., ... Read more of the essay here on my teenaged hopes for the museum (I grew up in the DC suburbs) and what I found on its 30th anniversary...


My Highlights of the Year for Frieze: A year of protest, power and people

Highlights of the year you say? The year had highlights? Well my response to the year has been to retrench and research to find the possibiities in history. Sojourner Truth, Frederick Douglass and the unknown William H Johnson (the Albany barber orator he was called in 1888. He was also an abolitionist and later lobbyist in NY State who fought to get through some of this state's most progressive civil rights legislation just after the Civil War). But that was in the 19th century, what about this century, this year? This was what I wrote about for Frieze, protest and power and people... You can read it here (or below)

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Sand Begets Glass

Sophia Al-Maria and I talk shopping malls, war, climate change and Gulf futurism for Frieze...

In the 1990s, Sophia Al-Maria exiled herself from American teenhood by choosing to live in her grandmother’s home in the Qatari capital, Doha. There, she had a front-row seat for the cataclysmic cultural and environmental changes unleashed on the Gulf by extraction industries, climate change and mobile technologies – the subjects that have become the focus of her work. The dark sides of technology and late capitalism are the thematic hallmarks of her films, installations and writings. She first discussed these issues in her essays on ‘Gulf futurism’ – a concept she initially articulated in 2007 – and in her memoir-as-novel The Girl Who Fell to Earth (2012). The fragmenting identities explored in her writing continue to inform her installations and film projects, while her unfinished feature film, the rape-revenge fantasy Beretta, looks at sexual violence in Egypt. Characterized by a pessimism she calls ‘doomy’, her work certainly has a dark seam running through it but, in conversation, Al-Maria reveals a lively sense of history and family, as well as a profound curiosity about the world. She talks, too, about her first US solo show, which opens in July at the Whitney Museum of American Art in New York.


Alchemy, travel and the essay – Ellie Ga in Frieze

Ellie Ga makes visual essays. They interlace myth, history and journeys, personal and profound. As she explores ideas she'll travel to the literal ends of the earth, get lodged in ice in the Arctic for months, learn to dive to try to find the world's first lighthouse. The work ends up being profound meditations on time, place, work, language all held together by her hypnotic voice ...I write about her for the October issue of Frieze:

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