Taylor Renee Aldridge and Jessica Lynne
When a white, male critic wrote that African-American artist Alma Thomas’s paintings echo “the special middle-ground pleasures of domestic life,” Taylor Aldridge and Jessica Lynne wondered: How might this assessment look if written by a Black critic?
Further Speculation on Digital Arts Media’s Future(s)
Brian Droitcour, Willa Köerner, Antwaun Sargent, and others weigh in on digital art publishing’s possible futures.
Muscle Memory/Blood Memory
In LaTasha N. Nevada Diggs’ poetry, “obvious” and everyday American popular culture expressions are made strange, and the rarest language is universal. It is a space in which “the Other” can finally see herself in the eye of “the Normal,” and “the Normal” recognizes a horrific difference at its core. Here, Diggs discusses her new book TwERK, the relationship between sound and text, and “ghost translations.”
Lewis Hyde: In Defense of the Cultural Commons
Sarah Peters & Sarah Schultz
“Art is what we do,” Carl Andre once said. “Culture is what is done to us.” Cultural critic Lewis Hyde, invoking the quote, adds, “It’s the ‘done to us’ part I’d like the citizen to avoid; let us be the constant makers of our cultural world.” In a recent conversation about creativity and copyright, democracy and the commons, Hyde expanded on the ideas in his book Common as Air: Revolution, Art, and Ownership.
Publishing a Decade: Neal Cuthbert on Artpaper and the ’80s
Neal Cuthbert & Lydia O’Callaghan-Morrison
Tagged “art/commmunity/cultural activism,” Artpaper chronicled art in the Twin Cities during a pivotal decade, its short life spanning from 1981 to 1993. As head of the monthly publication’s artists’ advisory committee then as Artpaper director, Neal Cuthbert had a clear view of Minneapolis’ creative life. Now vice president of program at the McKnight Foundation, he shares his memories of the 1980s.