Exilic Glamour: Alice Channer
It took Alice Channer a while to go to art school and start her BA. Part of the reason was…
Features
Arthur Jafa. Face It: The “Affective Proximity” of Imagery
“John Akomfrah […] said something that struck me, because I feel it’s at the core of almost everything that I…
After the Master: The Copy as Origin and Renewal
Go to any major museum to see ancient Greek statuary and you’ll find wall labels that read “Roman copy.” It’s…
WELCOME TO SUNNYDALE Mining the American suburban fantasy through a widely varied output, Olivia Erlanger expands the limits of sculptural thinking
Olivia Erlanger politely asks me to hold the call while she scrolls diligently through her screen cap folder. The lengthy…
Marta Minujín’s The Parthenon of Books: A Living Elevation of Social and Cultural Relations
A collective endeavor of Greek antiquity — no less than eighty different artists worked on the frieze alone — the…
Negative Space, Objects in the Absence of Performance
As art institutions adopt performance-based practices, artists, curators, and archivists are faced with new considerations about how to classify and…
Too Old to Die Young
In her 1975 poem “Liebestod,” Gwen Head writes of a girl on a beach who sunbathes with a glittering gun…
The (In)Animate World of Rebecca Horn
Between 1968 and 1972, German artist Rebecca Horn created a series of performances titled “Personal Art.” Not unlike Joseph Beuys,…
Jimmy Robert: Reworking Performativity
The work of Berlin-based artist Jimmy Robert (b. Guadeloupe (FR) 1975) is situated in the interstices between the art object,…
Apertures of Queer Prophecy. Alex Baczyński-Jenkins’s Such Feeling
At the center of Alex Baczyński-Jenkins’s Until a thousand roses bloom (with Warsaw in the background) (2018) are two plots…
When You Mix Something, It’s Good to Know Your Ingredients: Modes of Addressing and Economies of Attention in the Visual and Performing Arts
The event-oriented neo-avant-gardes of the 1950s and ’60s were very much driven by an oppositional stance to the conventions of…
Image, performance, protest
We stand in solidarity with all black communities around the world. In the past years, Flash Art has been inviting various artists, thinkers and writers to rewrite or rethink the idea of blackness. Our “Editors Choice” does not aim to dictate an exhaustive or comprehensive list of writings but is an act of solidarity, which aims to contribute to the distribution of art thinking on blackness, and a way in which we can support the movement. Good reading!
I Am My Body: On Judy Chicago’s Birth Project¹
I Am My Body A thump, thump, thump opens the 1980 movie Right Out of History: The Making of Judy…
Elysia Crampton: Beyond the horizon of coloniality
“We come from a heavily colonized country where they adopted Christianity. I saw the way [my grandmother] navigated her relationship…
Sharing space: Meriem Bennani on Teleportation, Babycouple Adults, and Postcolonial Morocco
Combining an impressive range of imagery drawn from YouTube, reality television, music videos, cartoons, documentary footage, and self-crafted animations, the…
The Machinery of Identity: Candice Breitz
Candice Breitz says she hasn’t slept all week. Yet, as I visit the artist in her studio in a long-gentrified…