You've got to dig to dig it, you dig?
Birth, life, and death—each took place on the hidden side of a leaf. (TM).
Carissa Rodriguez, The Maid. 2018.
Metropolitan Museum. Single-channel video, color, sound, 12 minutes 22 seconds.
Mohsen Mahdawi, a legal permanent resident, has lived in the United States for 10 years and was arrested in Vermont. He has not been charged with a crime.
Title: The Guide (Éclaireur)
Artist: Hervé Télémaque (Haitian, Port-au-Prince 1937–2022 Paris)
Date: 1962
Medium: Oil on canvas
Dimensions: 51 3/16 × 76 3/4 in. (130 × 195 cm)
Classification: Paintings
Credit Line: Purchase, Bequest of Florene M. Schoenborn, by exchange, 2023
Object Number: 2023.136
At Metropolitan Museum.
Through both this developmental and this structural model, psychoanalysis enacts an unprecedented science of mediation: a study of how language and norms inform desires; how desires can only make themselves legible in the distortions of parapraxes, dreams, fumbles, and symptoms; how the self is not self-evident but rather a product of social relations. With its conviction that psychic experience is socially produced, psychoanalytic theory can help explore the ways that circulation impresses upon the psyche: an overemphasis on instantaneous fluid exchange, an overabundance of images, an overweighting of presence, and overvaluing of identity can all preclude or fore-close the functioning of the symbolic. Representation slackens, and an unintegrable real impends. Immersion in the imaginary initiates all kinds of psychic dischord, from fantasies of self-possession and delusions of wholeness, to refusals of the other and proliferating dualities, to paranoiac gusts and polarized fluctuation. Each of these disorders vividly characterizes contemporary media culture and contemporary algorithmic logic.
Anna Kornbluh
Jack Whitten at MoMA.
Otobong Nkanga : Cadence, at MoMA.
Kennedy Yanko at James Cohan
Hahn Rowe at La Mama, in Tides.
Pierre Bellot at 56 Henry
Katharina Grosse at Renaissance Society, via the catalogue.
That whisper takes the voice
Of a Spirit, speaking to me,
Close, but invisible,
And throws me under a spell
At the kindling vision it brings;
And for a moment I rejoice,
And believe in transcendent things
That would make of this muddy earth
A spot for the splendid birth
Of everlasting lives,
Whereto no night arrives;
And this gaunt gray gallery
A tabernacle of worth
On this drab-aired afternoon,
When you can barely see
Across its hazed lacune
If opposite aught there be
Of fleshed humanity
Wherewith I may commune;
Or if the voice so near
Be a soul’s voice floating here.
In a whispering gallery, Thomas Hardy
Studio Museum in Harlem will open in Fall 2025.
Strange Natures features the work of three artists exploring themes of communal care, loss, resilience, and tenderness through the lens of South Florida’s ecology. While the artists use different mediums, they all engage in a process of world-building that feels both of and beyond our natural environment.
The exhibition imagines how our connection to land will change depending on our collective response, whether care or indifference, to the exploitation of our natural ecosystems. By contemplating this relationship within the context of South Florida’s landscape, the artists explore versions of reality that oscillate between dystopia and utopia, present and future, the familiar and strange.
Christine Cortes, Lee Pivnik, and Zoe Schweiger. Curated by Krys Ortega.
Bakehouse Art Complex, April 10, 2025 – July 10, 2025.
