The Archive Is a Set of Relations, Not a Record of History

The Archive Is a Set of Relations, Not a Record of History

Pockmarked moons and missiles at launch, astronauts in profile, and dark-suited men eying fighter jets in take-off. Scrawled archival notes map the surface of each image, as well as typewritten captions, dates, stickers, and stamps signifying transmission of the AP wire service. The contextual content, which was taken from the backside of archival prints, overlays the pictures. A surfacing of relations, a glimpse behind the curtain at the process by which photographs are made distinct from the world that they represent. The incessant churning of an archive—subsumed today by the internet—at work.

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Interview with Ernst Fischer

Interview with Ernst Fischer

When I met Ernst Fischer in his shared Sunset Park studio, he had just completed a trade of a photograph for two bottles of homemade mead, which he opened upon my arrival. Over the first few glasses, I told him how I came across his work in 2015 at CUE Art Foundation, and he explained how he moved from filmmaking to photography in his mid-twenties by falling into advertising work. After working for years in London and Berlin, where he grew tired of the pressure to print his photographs in series, Fischer came to New York to undermine his own practice.

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The Melancholy of Remembering

The Melancholy of Remembering

In the years following my grandmother’s death from a debilitating mental illness, what I remembered most were her eyes. I wanted to know what was going on behind the glassy absence, what she was thinking about, and whether she recognized her visitors even if unable to utter her son’s name.

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Museum of Ruins

Museum of Ruins

Thomas Struth’s work reflects that the transcendent sensation often confused with religious experience is little more than a byproduct of the interplay between the chaos of life, and the stoic organization of space.

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Stanley Whitney, “Dance the Orange”

Stanley Whitney, “Dance the Orange”

A common misconception about jazz is that it is pure, unbridled expression. This isn’t necessarily true. Much jazz actually riffs and improvises within the bounds of a relatively rhythmic meter, creating a sort of syncopation against classical structure. Of course, there are many approaches to jazz, but this seems the most apt comparison for Stanley Whitney.

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Tools for Redress: A Century of Political Art

Tools for Redress: A Century of Political Art

In the fall of 1929, the same month as the collapse of the American stock market, editors from the leftist magazine New Masses met in New York City to form a federation of artists, writers, and intellectuals. Initially unaffiliated with any political party, the magazine and its newly established federation, the John Reeds Club, aligned themselves with the American Communist Party barely a year later. The JRC expanded outside of New York and immediately began exhibiting the works of its artists, drafting in 1932 a manifesto in which they called upon “all honest writers and artists to abandon decisively the treacherous illusion that art can exist for art’s sake, or that the artist can remain remote from the historic conflicts.”

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The Geometry of Conscience

The Geometry of Conscience

It was only eighteen days after the world’s first democratically elected Marxist president appointed his commander-in-chief, that Salvador Allende, according to official Chilean reports, committed suicide in his presidential palace. The date was September 11th, 1973.

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Come Inside, We Have Coffee

Come Inside, We Have Coffee

The Outsider Art Fair comes to Manhattan's Center 548 in late January, a time when few have any desire to be out in the cold. Inside, though, it’s comfortingly familiar to anyone who’s been to just about any art fair in New York City, really, which immediately raises the dominant question of the whole ordeal: What exactly are we outside of?

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Old Indian Road

Old Indian Road

"Old Indian Road" was most recently appeared in plain china, a best of anthology published by Bennington University. The accompanying photograph is by Ally Christofferson.

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