Lauren O’Neill-Butler

  • LABOR OF LOVE

    ANGELA DAVIS IS RIGHT: Freedom is a constant struggle.

    George Michael, expatiating on freedom, had another good point: You’ve got to give for what you take.

    When the core members of fierce pussy give talks about their art, they usually begin by thanking Condé Nast. Joy Episalla and Carrie Yamaoka, who cofounded the New York–based collective with Nancy Brooks Brody and Zoe Leonard in 1991, were respectively working in the design departments at GQ and Traveler magazines in the group’s early days. During quieter moments around the office, they ran off hundreds of fierce pussy posters on the copy

  • Astra Taylor, What is Democracy?, 2018, color, sound, 107 minutes. Sylvia Federici with Astra Taylor.
    film January 31, 2019

    Blank Canvass

    SPOILER ALERT (sort of): What Is Democracy? doesn’t deliver an answer to its titular question or a remedy for our bleak times in the United States. What the film offers instead is a peripatetic and sweeping glance at a centuries-old problem through a chorus of shrewd assessments. And by chorus, I mean to denote ancient Greece and tragedy. This isn’t a hopeful documentary—how could it be?

    In lieu of speaking primarily with philosophers as in her past films—Zizek! (2005) and Examined Life (2008)—here writer and director Astra Taylor gathers a divergent group of interviewees: young students in Miami,

  • View of “Liliana Porter,” 2018–19. Foreground: Tejedora (The Weaver), 2017. Background: Sin título (Autorretrato con cuadrado) (Untitled [Self-Portrait with Square]), 1973.

    Liliana Porter

    Following a yearlong renovation, El Museo del Barrio reopened its doors this past September. Its return felt like a rebirth uncommon in New York as of late: Rather than allowing itself to be seized and yuppified by financialized capitalism, this essential institution had instead seized and rethought its possibilities, community, and overall scope. Signaling this renewal is a survey of Liliana Porter’s oeuvre (on view until January 27), featuring thirty-five works from nearly fifty years, skillfully curated by Humberto Moro. By forgoing chronological order to focus instead on narrative themes,

  • View of “Let me consider it from here,” 2018–19, the Renaissance Society, Chicago.
    interviews December 26, 2018

    Constance DeJong

    For four decades, Constance DeJong has demonstrated what language is capable of—how it can be more than just a delivery system for the conventions of novels and short stories. Her scrupulous writings, recordings, and performances are typically suffused with sensitivity and humor, confessions and criticisms. Below she discusses how “the movement of thought” across the mind is a source of structuring language for her and her new works in “Let me consider it from here,” a four-artist show on intimacy at the Renaissance Society in Chicago, which is on view through January 27, 2019.

    THIS IS THE

  • Anne Carson at the New York Public Library on December 7, 2018. Photo: Sarah Stacke / New York Public Library.
    diary December 11, 2018

    Lure of the Local

    WELCOME TO THE DREGS OF THE YEAR, when all we want—or need, given the chaos of 2018—is something socially nourishing. And no, I’m not talking about Art Basel Miami Beach.

    On Saturday December 8, an afternoon of overlapping talks, workshops, film screenings, and performances was brought together under the banner of “Access and Agency” at the Queens Museum in conjunction with “Queens International 2018,” the eighth edition of the truly local group show that spotlights a set of artists working in the most royal borough. This year, a lively intergenerational dialogue on abstraction, chance

  • View of “Lorraine O’Grady: From Me to Them to Me Again,” 2018, Savannah College of Art and Design, Georgia.
    interviews November 19, 2018

    Lorraine O’Grady

    Lorraine O’Grady’s longtime engagement with the diptych, as seen in her recent collage series “Cutting Out CONYT,” 1977/2017, which she discusses below, is highlighted in two solo exhibitions this fall: one is on view at Alexander Gray Associates in New York through December 15, 2018, and the other is at the SCAD Museum of Art in Savannah, Georgia through January 13, 2019. “Cutting Out CONYT” is a radical selection from her earliest artwork, “Cutting Out the New York Times (CONYT),” 1977, now reworked and distilled into what she calls “haiku diptychs.” The eminent New York–based artist and critic

  • Orra White Hitchcock, Colossal Octopus (After Pierre Denys  de Montfort), ca. 1828–40, pen ink and watercolor on cotton, 27 7⁄8 × 21".

    Orra White Hitchcock

    The American illustrator Orra White Hitchcock (1796–1863) was born, lived, worked, and died in and around Amherst, Massachusetts. She probably left the area only a handful of times. On the few occasions I stumbled, speechless, through this utterly germane celebration of her life and work, I wondered if that ability to stay in one place for so long had something, or everything, to do with her keen and pragmatic understanding of the synthesis between nature and the divine.

    Hitchcock’s prolonged sense of ecological time sang out strongly, providing a sharp reminder that it’s the already documented,

  • Sascha Jahn and TheBoundCollective, My pain, your thrill, 2018. Performance view. Photo: Nysos Vasilopoulos.
    diary October 30, 2018

    Upping the Anti

    ON FRIDAY, SEPTEMBER 21, 2018, thirty-three-year-old queer activist and performer Zak Kostopoulos was killed in the streets of central Athens. His attackers, who brutally beat him in a jewelry store, where he sought refuge after being harassed by three other men at a cafe, have not been charged as of this writing. And by attackers, I mean not only the two men who commenced the hate crime but also the police who continued to exert excessive and unwarranted violence toward Kostopoulos after (finally) arriving on the scene.

    More than 140 people involved in the Athens- and Kassel-based exhibition

  • Nancy Goldring, La Guarida, 2011, framed Cibachrome, photographic projection, 30 x 34".    
    interviews September 28, 2018

    Nancy Goldring

    For decades, the New York–based artist Nancy Goldring has sustained a profound interest in perspective and analytical representations of space. In tandem, she has fine-tuned her awareness of the ultimate fiction of both by homing in on a place and then disrupting it, via a destruction of the static, privileged monocular view. A solo show of her recent “foto-projections,” as she calls her multifaceted work, is on view at Carrie Haddad Gallery in Hudson, New York, through November 4, 2018.  

    ONE OF THE MAIN LINES OF INQUIRY that has driven my work for so many years concerns how to conjure

  • Stephen Maing, Crime + Punishment, 2018, color, sound, 112 minutes.
    film August 30, 2018

    Rise, Resist

    DIRECTOR STEPHEN MAING might just be the next Laura Poitras. Poitras produced his previous short film, The Surrender (2015), on State Department intelligence analyst Stephen Kim’s prosecution under the Espionage Act, and she is the executive producer of his latest inflammatory feature, Crime + Punishment, an account of racist policing in New York and its ripple effects in Ferguson and beyond. The film focuses on two intertwined stories: the NYPD 12, a group of Latinx and black cops who stood up against racial profiling and filed a class-action lawsuit against the city, and a private investigator

  • interviews August 21, 2018

    Sue Coe

    “Sue Coe paints horror beautifully, ugliness elegantly, and monstrosity with precise sanity,” wrote Glenn O’Brien—RIP—in 1984 for the debut review of Sue Coe’s work in Artforum. The claim rings true today. Her anti-career career as someone “double-parked on the highway of life,” as she puts it, has been one of nonstop art as activism. “Graphic Resistance,” a survey of fifty works from the past forty years, is on view at MoMA PS1 in New York until September 9.

    I MAKE ART FOR PEOPLE ON THE FRONT LINES. That’s my family: a community of activists who are not artists but who want to use art as a

  • The Otolith Group, O Horizon, 2018, 4K video, color, sound, 81 minutes. Commissioned by bauhaus imaginista and coproduced with the Rubin Museum of Art and Project 88.
    interviews July 24, 2018

    The Otolith Group

    The Otolith Group’s latest video, O Horizon, 2018, comes out of a long-standing research interest in Rabindranath Tagore and his founding of Visva-Bharati, a school in Santiniketan, West Bengal, India, which was meant to be a living laboratory and an experiment in art, life, and craft. Here, the founders of the group, Kodwo Eshun and Anjalika Sagar, discuss their motivations for shooting on location and the Tagorean ethics that animate the work. O Horizon made its debut at the Rubin Museum of Art in New York, where it is currently on view through September 17, 2018. The work will travel to the