• Aftershock: Christine Sun Kim

    Artforum has invited artists to share a text, image, or video in the immediate wake of the United States presidential election and will be posting their contributions throughout the next week.

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  • Aftershock: Dread Scott

    Artforum has invited artists to share a text, image, or video in the immediate wake of the United States presidential election and will be posting their contributions throughout the next week.

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  • Aftershock: Glenn Ligon

    Artforum has invited artists to share a text, image, or video in the immediate wake of the United States presidential election and will be posting their contributions throughout the next week.

    AFTERMATH WAS LIT before November 4, 2020, and will remain lit after the date the neon illustrates. Although the title implies that November 4, 2020, is the date on which we will see how the United States will react to the election results, the neon being lit before that date signals that we are already in the aftermath, that the emergency started generations ago for Indigenous people who resided here before

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    Snow is falling on the yellow leaves

    And blowing across the nodding yellowing

    And green leaves that have yet to fall. This

    Is the third day in a row the sun

    Has hidden as it rose if indeed it did rise

    & it must have risen though I know in the pit

    Of my guts with everything we’re doing here

    The earth’s rotation is bound, too, to change

    Not just the career of its seasons, the grief

    & outrage of our relations. I have

    Speculated before that certain enduring

    Traditions, many of them called hermetic

    Emerged specifically and only because a disciplined

    And determined few were forced in on themselves

    While being

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    IMAGINE SOMEONE with “Q”-level security clearance in the American federal government joining an online message board’s anonymous hordes to post allusive crumbs of insider intelligence about Donald Trump’s plan to crush the “deep state.” And imagine that this Democrat-controlled shadow government comprises bloodthirsty, adrenochrome-addicted, sex-trafficking pedophiles obsessed with flaunting their vices through a symbolism both totally pervasive and curiously inscrutable. Can you conceive of plots involving secret connections between tweets and George Floyd’s death and a premeditated

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    THEY SAY WE’RE STRONGER TOGETHER. That we’re the most important political force in the nation. That feminism is the future. What would it take to make these platitudes—touchstones from August’s Democratic National Convention—meaningful during a complete economic and social catastrophe and under a pandemic that has all but extinguished any faith left in already attenuated notions of universality and progress?

    Conceived in the wake of the 2017 Women’s March, the Feminist Art Coalition is a call to action that encompasses climate change, decolonization, racial justice, Indigenous struggles, diasporic

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  • The New World

    “You want to wake up in the morning and think the future is going to be great—and that’s what being a spacefaring civilization is all about. It’s about believing in the future and thinking that the future will be better than the past.” —Elon Musk

    I TRY TO GO SEE the SpaceX rocket launches whenever I am back home in Florida. I attended one in the very first week of this year, pulling off to the side of the road on a little sandbar between Titusville and the Cape and parking with a direct view across the water to the launchpad. It was a tradition that I knew from childhood on the Space Coast of

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    No actually the first word emerged

    Deep in the bowels of the human throat

    & forged in loathing & envy, has now attained majority

    & like a Christ is rising, gagging, pointing to its second wound

    The better to distract me

    All my life you’ve taught me to mourn the son

    Nevermind that this isn’t even my religion

    Then after stealing my children you hacked

    Away my reproductive organs

    You never believed me capable of grief

    On behalf of my own immensity

    And caused to orbit all about my head the mouths

    Of those white women rich enough to fatten

    Their lips with silicone.  And bade them shape

    Woken syllables on the

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    Does all evil emanate from a single source?

    And do the hundred thousand elaborations of bad

    Over which puritans and pundits fight it out on the crust

    Of the earth correlate to the lack of spiritual and political

    Foundation that would make it easy to see the Marxist reality

    That the corporate and billionaire class is what’s really got to go?

    That my racism and yours, our failure to love, are masquerading

    As things that’re wrong with you & me when we’re just walking symptoms

    Of the structural reality into which trees, poems, tears & miracles

    Introduce a rending, streaming, higher truth, a better flow, the

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  • Tate Awakening

    “SHAME ON TATE.” This chant reverberated at a protest organized by dozens of staffers with PCS Tate United and PCS Culture Group on Monday, ensuring that no visitor to London’s Tate Modern—newly reopened after four months due to the pandemic—could think it accepted or normal for the institution to threaten 334 employees of its commercial arm, Tate Enterprises, with redundancy. The decimation of jobs is completely preventable, workers argue, and political. Ultimately, Tate’s board decides on resource allocations, and the Prime Minister appoints thirteen out of fourteen members. Monday’s protest

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  • Poppy and Recollection

    “I didn’t think it was physically possible, but this both sucks AND blows.” —Bart Simpson

    THE VIRUS BROUGHT STRANGE BEDFELLOWS, but then again so did the uprising. You didn’t love the smell of your own breath behind your mask. Neither did you love certain things about yourself that had formerly been easier to escape.

    Confinement led to masses of people finally catching the thought: human beings should not be put in cages. Instagram became a pedagogical tool, rather than merely the matrix of DIY propaganda. Then it slid back. “For Israel slideth back as a backsliding heifer.” So it says in the Book

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    ORIENTALIST PAINTING dates back at least to the Renaissance but was especially popular from the early nineteenth century to the early twentieth, a period that tellingly coincided with the heyday of colonialism. Intent on displaying “Oriental” (read: Ottoman and Arab, mostly) life in all its strangeness and colorfulness, artists working in this subgenre of academic painting espoused a number of thematic categories that accounted for most of their output. These included portraits of Oriental stereotypes (tribal chieftains, guards, or mystics), street views or interiors, sun-drenched picturesque

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