Articles

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  Candice Breitz

  There actually are 1,001 pieces of videotaped film in the boxes, though we can’t find out what they are without destroying them as artworks.

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  Cliff Eyland

  The Library of Babel, if indeed it did exist, would be an infinite labyrinthine space of boundless freedom, much like the space Eyland created for himself within his practise: the room to operate in whatever way he pleased.

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  Buffy Sainte-Marie

  Sainte-Marie’s work opens up what she calls—in reference to her treatment of Indigenous themes through new media—an “alter-native” dimension.

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  Postcommodity Tells Time

  Place is one of the most significant determining contexts through which you can position an idea or try to make meaning around a set of ideas and propositions

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  Changes of Focus: Janet Sternburg, Teju Cole, Mark Peckmezian, Charles Johnstone

  In my brain something had shifted before I’d realized it. As a change of focus can make nearer things seem nearer and farther ones even more distant, the pandemic made necessary things more necessary, superfluous ones totally dispensable.

• Weed Killer Into the Weeds: Dewayne “Lee” Johnson vs. Monsanto Company

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  The Art of Nature: Edward Burtynsky’s “Natural Order”

  Our neuro systems, our vascular systems and our nervous systems are all branches. They’re all complex, interwoven branches of supply chains that send life to our extremities, like the branches and the bushes do to the leaves. I was looking at nature almost as if I were looking at the structures of our inner body.

• Sleepy Time with Henri Michaux

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  Nature’s Exuberance Uncentring the Anthropocentric

  Giovanni Aloi speaks of our alienation from nature, of our having extracted or drawn ourselves outside it. Can we blame the apple? How did it come about or why, that we have removed ourselves from nature to use and overuse it and see now the consequences?

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  Found Everything

  Finding herself in an enclosed space, Lynn Hershman Leeson finds a way, at whatever cost, to break through any barrier that she comes across.

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  Bodies and the How of Seeing

  In contrast to Scheurwater’s overriding propensity toward brazen confrontation, Scheynius cultivates an aesthetic that is sidelong and elusive even in showing the naked body—the artist’s own or that of others.

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  Figures and Faces

  Shearer’s internalized visual memory is capacious, an archive of its own that has absorbed the history of images as far back as images’ own record.

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