Monthly Archives: November 2010

issue 2

In History and Helplessness, Moishe Postone lays bare what he perceives as the most pressing problem of the zeitgeist of today: the feeling of helplessness. Following Postone, Chris Cutrone suggests that the feeling of helplessness is an accrual of hundreds

issue 2

In History and Helplessness, Moishe Postone lays bare what he perceives as the most pressing problem of the zeitgeist of today: the feeling of helplessness. Following Postone, Chris Cutrone suggests that the feeling of helplessness is an accrual of hundreds

/ art

Interview: Sharon Hayes

Sharon Hayes, interviewed by Chris Mansour
“What’s the first political image you remember?”It became a fascinating lesson for me on the relationship between who we are and what we grab onto.

/ art

Interview: Sharon Hayes

Sharon Hayes, interviewed by Chris Mansour
“What’s the first political image you remember?”It became a fascinating lesson for me on the relationship between who we are and what we grab onto.

/ art

Art and Politics After Postmodernism

Chris Cutrone
“postmodernism itself has begun to age, and reveal its own concerns as those of the post-1960s situation of global capitalism rather than an emancipated End of History.”

/ art

Art and Politics After Postmodernism

Chris Cutrone
“postmodernism itself has begun to age, and reveal its own concerns as those of the post-1960s situation of global capitalism rather than an emancipated End of History.”

/ art

Mondrian and the Dialogical

Pac Pobric
“If dialogical art is content to provide one-off solutions, supposedly solving a problem in such a way that it does not have to be revisited, radical art will be returned to again and again. It is an art that poses engaging questions that cannot be solved through action. It asks, fundamentally, what are the plastic (not political) means by which art can engage its context of creation?”

/ art

Mondrian and the Dialogical

Pac Pobric
“If dialogical art is content to provide one-off solutions, supposedly solving a problem in such a way that it does not have to be revisited, radical art will be returned to again and again. It is an art that poses engaging questions that cannot be solved through action. It asks, fundamentally, what are the plastic (not political) means by which art can engage its context of creation?”

/ art

contrasts

Bret Schneider
“Whether it be high or low-keyed, contrast is used to instill in the viewer a rudimentary aesthetic education, and its existence today means the increasing depravity of viewing that is extrinsic to it.”

/ art

contrasts

Bret Schneider
“Whether it be high or low-keyed, contrast is used to instill in the viewer a rudimentary aesthetic education, and its existence today means the increasing depravity of viewing that is extrinsic to it.”

Implicated Subjects in Never Let Me Go

Neima Jahromi
“Humanism depends on the category of the human, which in turn relies on disturbances along its fault lines to make shocking announcements of its presence. We cannot exactly draw these lines, but we feel them when the ground shakes.”

Implicated Subjects in Never Let Me Go

Neima Jahromi
“Humanism depends on the category of the human, which in turn relies on disturbances along its fault lines to make shocking announcements of its presence. We cannot exactly draw these lines, but we feel them when the ground shakes.”

They Are Giants of Men

Ira S. Murfin
“And that is all, they are their own men, their own movements – a generation of American activists accustomed to burgers and baseball and rugged individualism, not vegan kitchens and collective decision-making”

They Are Giants of Men

Ira S. Murfin
“And that is all, they are their own men, their own movements – a generation of American activists accustomed to burgers and baseball and rugged individualism, not vegan kitchens and collective decision-making”