Continuing his ongoing series on the aesthetics of Camp, Laurence Ross examines two recent Calvin Klein ads that have been scrutinized by the Russian government.
Curator Christian Camacho-Light discusses the politics of abstraction with Francisco-Fernando Granados, whose work was included in Camacho-Light’s recent thesis exhibition at the Center for Curatorial Studies at Bard College.
As “False Flags” at Pelican Bomb Gallery X closes, New Orleans-based activist Tabitha Mustafa looks at the parallels between the ongoing conflict in Israel and Palestine and local conversations surrounding cultural ownership.
Emily Wilkerson, Project Manager at Prospect New Orleans, looks at the history of international exhibitions and thinks about the potential of biennials to cross borders.
Erin Colleen Johnson gives an exclusive preview of her upcoming sound installation at the Maine Maritime Museum.
Ben Miller examines how Paul Bowles’ recordings of traditional Moroccan music might have served an agenda of resistance.
Curator Lynnette Miranda writes on the rise of the band EXP and challenging what K-pop is and can be.
Ryan Lee Wong visits Cao Fei’s current retrospective at MoMA PS1 and thinks about how her photography and video works transcend the limitations of bodies and the built environment.
Benjamin Morris speaks to New Orleans native John Isiah Walton about his recent paintings and drawings, which look at the ongoing conflict in Syria.
Artist Imen Djouini shares an ongoing project that looks at the ways languages intermix and change on the Internet.
Charlie Tatum looks at how Adam Pendleton’s largest solo exhibition to date combines disparate revolutionary histories and asks viewers to consider the relationship between art and activism.
Lydia Y. Nichols speaks to Dread Scott about his upcoming project in New Orleans, a full-scale reenactment of the largest slave revolt in U.S. history.
Lydia Y. Nichols visits an exhibition on Julia Street dedicated to the Black Lives Matter movement and wonders how political movements should be represented in galleries.
Jessica Lynne reflects on two artists who use their practices to challenge the Confederate flag’s legacy.
Charlie Tatum contemplates a vision of America embedded in a painting by Bo Bartlett and Lana Del Rey’s music videos.
Curator Noah Simblist introduces “False Flags,” on view through May 29, 2016, at Pelican Bomb Gallery X.