Kaegan Sparks

  • film June 09, 2020

    Bonded Debt

    “I WANT HOT PINK GLITTER IN MY ASHES,” a redheaded, middle-aged woman quips, triggering nervous, scandalized laughter in a scene that evokes cinema verité as much as a home movie. Around a Thanksgiving table in Mississippi, gallows humor is a family affair, animated by tongue-in-cheek speculations about dismemberment, double indemnity, and itemized funeral budgets. At this point in Shared Resources, a feature-length work in progress by Jordan Lord, we know that Albert Lord (the filmmaker’s father, a graying man who observes this conversation with jaded reserve) is a former debt collector, or “

  • Susan Meiselas

    In the late 1970s, Susan Meiselas—then a new member of Magnum Photos, an artist-owned agency and standard bearer for the postwar field of photojournalism—traveled to Nicaragua, where she documented the Sandinista uprising against the government’s autocratic regime. A selection of her photographs, many published in international newspapers and magazines of the time, was exhibited here as a riveting testament to the impending coup and its aftermath. Meiselas’s series balances fidelity to sociopolitical context with attention to the volatility of visual signs—a quality more commonly associated with

  • picks October 22, 2019

    Fernando Bryce

    Milton Friedman appears kitty-corner to John Travolta in The Decade Review, 2019, a panoramic installation of 110 ink-drawn facsimiles of 1970s print media by Peruvian artist Fernando Bryce. The dust jacket of Friedman’s Free to Choose (1980), a pop organ of Chicago School economics, chafes against a South American movie poster for Saturday Night Fever (1977) featuring the fast-and-loose disco king Tony Manero. In Bryce’s matrix, the ad becomes a fraught document of both cultural and economic imperialism, reminding us that in the 1970s Chile became a portentous test site for Friedman’s crusading


    The Glen Park Library: A Fairy Tale of Disruption, by Pamela M. Lee. New York and San Francisco: No Place Press, 2019. 112 pages.

    IN OUR NEOLIBERAL GILDED AGE, it has become commonplace, even banal, for tech barons and venture capitalists to style themselves “disruptors” and “revolutionaries.” Both designations trade on heroic machismo to repackage corporate greed as the glorious stuff of myth. Flash points and pivots are sexy, after all, and even better when inflated with historic consequence. But culture, too, succumbs to the seductive cast of epoch-making violence; “disruption” is also the