reviews

  • Helen Cammock, They Call It Idlewild, 2020, HD video, color, sound, 18 minutes, 35 seconds.

    Helen Cammock, They Call It Idlewild, 2020, HD video, color, sound, 18 minutes, 35 seconds.

    Helen Cammock

    Kate MacGarry

    “Attention equals Life, or is its only evidence,” wrote poet Frank O’Hara, and as I watched Helen Cammock’s new film They Call It Idlewild (all works cited, 2020), I believed him—fervently, longingly. Cammock made the film, originally commissioned by Wysing Arts Centre in rural South Cambridgeshire as part of its thirtieth-birthday program, while she was in residence at the institution during the autumn and winter of 2019–20, and it is full of the low, glancing light that characterizes British winters. Cammock’s lens catches this light as it pauses against bright-orange walls, lingers high in

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  • Tavares Strachan, No Name in the Street, 2020, two panels, oil, enamel, and pigment on acrylic, overall 96 × 96".

    Tavares Strachan, No Name in the Street, 2020, two panels, oil, enamel, and pigment on acrylic, overall 96 × 96".

    Tavares Strachan

    Marian Goodman Gallery | London

    Encyclopedia of Invisibility, 2018, is a massive, 2,400-page volume in which Bahamas-born, New York–based artist Tavares Strachan collected extraordinary yet “invisible” histories, often of overlooked people of color. These include North Pole explorer Matthew Henson; NASA mathematician Katherine Johnson; and the first African American astronaut, Robert Henry Lawrence Jr. Henrietta Lacks’s cells have been used in vital laboratory experiments since her untimely death in 1951—her “anonymous” DNA has been on permanent loan to science, without her consent. Alicia Alonso was the Cuban-born star of

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