K. Yoland

Standing at the water’s edge, I wonder if I might drown myself in my hypocrisy or whether the metaphorical kingdom of light has a place for even me. Have I placed my hat on so firmly that I do not realize it’s on backwards? I hesitate at the figurative border of nations and ideologies. To cross or not to cross? You cross and you’ve committed a crime. You don’t cross and you strengthen the system. And there lies the precipice. K. Yoland, excerpt from “Operation Tumbleweed,” Nasher Sculpture Center’s The Nasher, Fall 2018

Dr. Noah Simblist and Lauren Woods

Language has unmistakably made plain that memory is not an instrument for exploring the past, but rather a medium. It is the medium of that which is experienced, just as the earth is the medium in which ancient cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging. Walter Benjamin, “Excavation and Memory,” in Walter Benjamin: Selected Writings Volume 2, 1927–1934 (Cambridge, MA: Harvard University Press, 1999)

Analia Saban

Integrating conceptual depth with a poetic formal sensibility, innovative technical processes and wry wit, Saban’s latest body of work examines the transition and contrasts between analog and digital worlds. Tanya Bonakdar Gallery, Analia Saban: Punched Card, September 6–October 18, 2018

Rainey Knudson

Go see some art. Rainey Knudson, Glasstire.com

Rainey Knudson, the founder of the Texas online art magazine Glasstire, recently announced that she will be stepping down as publisher in 2019 after more than 18 years in the job. As stated in a Glasstire announcement, “During her 18 years at the helm of Glasstire, Knudson has shaped the media outlet into an important resource and connective tissue for the disparate cities that make up the statewide Texas art scene.” 

Eileen Quilan

My work is about a lot of things . . . aging, sexuality, mortality, parenting, environmental collapse, mass murder and guns, macrocosms and microcosms, the domestic, feminism, motherhood and mother artists, making do, confinement, misogyny, available means, lifestyles, access, the internet as the source of all things (appropriation) and how that ties to limits on time and access, art historical allusions, advertising . . .

Richard Meyer

In this first book to be published on criticism and theory regarding queer culture, Phaidon has certainly set the bar high. Richard Meyer states in the preface: “We have chosen the term ‘queer’ in the knowledge that no single word can accommodate the sheer expanse of cultural practices that oppose normative heterosexuality.” The stage has been set for this text, so the next question is, where to begin? Shirley Stevenson, review of Art and Queer Culture, Aesthetica Magazine

Philipp Kaiser with Mary Sue Andersen Ader and Helene Winer

In 1971, Chris Burden disappeared for three days without a trace. That work, entitled Disappearing, gives its name to this exhibition, which examines the theme of disappearance in the works of Burden and his contemporaries in 1970s Southern California, Bas Jan Ader and Jack Goldstein. Philipp Kaiser, Disappearing—California, c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein

Alexander Dumbadze

Alexander Dumbadze is Associate Professor at George Washington University. He is the author of Bas Jan Ader: Death Is Elsewhere (University of Chicago Press, 2013; paperback 2015) as well as co-editor and co-author of Contemporary Art: 1989 to the Present (Wiley-Blackwell, 2013; Korean translation, 2015). Dumbadze is currently writing Jack Goldstein: All Day Night Sky. His essays and criticism have been published in a variety of national and international publications.

Anime at the Modern

Join us as we celebrate the Japanese anime genre — films that are visually stunning, richly imaginative, and poetic in their storytelling. This summer’s films feature critically acclaimed award winners for Best Animated Feature Film (one Academy Award and two Japanese Academy Awards.)

Robyn O’Neil: WE, THE MASSES

The Modern Art Museum of Fort Worth presents a 20-year survey of the work of Robyn O’Neil (American, born 1977), on view in Fort Worth, Texas, October 18, 2019, through February 9, 2020. Organized by the Modern’s associate curator Alison Hearst, the exhibition Robyn O’Neil: WE, THE MASSES explores the artist’s fruitful career from 2000 to the present and includes major multi-paneled drawings, signature works of graphite on paper, collages, and the animated film WE, THE MASSES, 2011.

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