Social Practice

Activestills: Photography as Protest in Palestine/Israel

In a new book, the esteemed photojournalist Miki Kratsman describes the uneasy recognition by some former students at Tel Aviv’s Geographic Photography College in 2005: The relationship between photojournalists and media outlets was rapidly shifting in a direction that did not favor visual storytellers, as online platforms achieved supremacy and content demands increased exponentially. From their insecurity sprang Activestills, a collective of dedicated photographers whose[…..]

Soulèvements (Uprisings) at the Jeu de Paume

Dennis Adams. Patriot, 2002; C-print mounted on aluminum; 40.5 x 54 in. Courtesy of Centre National des Arts Plastiques, Paris. Photo: Galerie Gabrielle Maubrie.

What if the imagination made mountains rise up? Georges Didi-Huberman poses this question in Soulèvements (Uprisings), a new exhibition at the Jeu de Paume National Gallery in Paris. Throughout the museum’s galleries, contemporary artworks, books, historical documents, and photographs present a potent survey on the theme of social rebellions in the West, ranging from Victor Hugo’s call for the abolition of the death penalty (in[…..]

Between Citizenry and Privilege: Ai Weiwei and Bouchra Khalili

Ai Weiwei and Rowlit Chawla. Weiwei on Lesvos Beach, 2016. Photo: Rowlit Chawla for India Today.

Today from our sister publication Art Practical we bring you Jordan Amirkhani’s article from 8.1: Art + Citizenship. Amirkhani discusses the recent work of artists Ai Weiwei and Bouchra Khalili as they respond to global crises. Amirkhani quotes Hannah Arendt, who speaks to citizenship and  those who lack the “rights to rights,” saying, “If a human being loses his political status, he should, according to the implications of the inborn[…..]

The Art of Citizenship: Mierle Laderman Ukeles at the Queens Museum

Mierle Laderman Ukeles. Sanitation Celebrations: Grand Finale of the First NYC Art Parade, Part I: The Social Mirror, 1983; garbage collection truck, tempered glass mirror, and acrylic mirror; 28 x 8 x 10 1⁄2 ft. Created in collaboration with DSNY. Courtesy of the Artist.
Mierle Laderman Ukeles. Sanitation Celebrations: Grand Finale of the First NYC Art Parade, Part I: The Social Mirror, 1983; garbage collection truck, tempered glass mirror, and acrylic mirror; 28 x 8 x 10 1⁄2 ft. Created in collaboration with DSNY. Courtesy of the Artist.

Today from our sister publication Art Practical we bring you Aruna D’Souza’s reflections on Mierle Laderman Ukeles at the Queens Museum. This article was published as part of Art Practical’s issue 8.1: Art + Citizenship. D’Souza states  “[Ukeles] work, and the role of the artist that her work inscribed, makes a powerful argument for the artistic possibilities of citizenship—and the responsibilities, obligations, and collective pleasures[…..]

From the Archives – Alien She at Yerba Buena Center for the Arts

L.J. Roberts. We Couldn’t Get In. We Couldn’t Get Out., 2006–07; installation view, Alien She, 2014. Courtesy of Phocasso and Yerba Buena Center for the Arts, San Francisco.

Alien She’s assemblage of Riot Grrrl output continues to inspire collective feminist organizing.

The Guerrilla Girls and La Barbe at mfc-michèle didier

La Barbe. Au patriarcat, les hommes reconnaissants [To the patriarchy, the grateful men]; digital print; 8.3 x 11.7 in. Courtesy of La Barbe. Photo: Charles Duprat.

After thirty years of the Guerrilla Girls presenting statistics that repeatedly show the underrepresentation and misrepresentation of women in public collections, museums, and galleries around the world, one would think that these institutions would have been driven to promote changes en masse, if only out of shame. Yet, as the New York–based feminist group keeps evidencing, the archaic status quo in the art world has proven[…..]

From the Archives – The Rape of the Sabine Women: Eve Sussman and Rufus Corporation at Impronte Art

Eve Sussman | Rufus Corporation, Annette with Rabbits, 2005. Photo by Benedikt Partenheimer. Courtesy of Impronte contemporary art.

We are thinking through the origins of democracy and systemic racism and misogyny.