This Summer, I Am Re-reading...

Frantz Fanon’s Black Skin, White Masks

I first read Black Skin, White Masks as a graduate student in Jerusalem… in an environment that forced me to confront my bifurcated existence on a daily basis: as oppressed and as oppressor, colonizer but not colonized.

This Summer I Am Going to Read…

Rebecca Solnit’s Wanderlust: A History of Walking

“Walking shares with making and working that crucial element of engagement of the body and the mind with the world, of knowing the world through the body and the body through the world,” writes Solnit.

Sara Gackowska, Słupsk, Poland

Work Space nº14

My bench makes me feel that I belong in this place. Here I make the most choices and decisions and develop new ideas.

This Winter I Am Re-reading…

David Graeber’s Debt: The First 5,000 Years

Given the rise of debt policing, from student loans to mortgage defaults, Graeber’s critique of capitalism is compelling: “A debt is just the perversion of a promise. It is a promise corrupted by both math and violence.”

Merchants in the Temple

The Manhattan School of Making It Big

Nearly one year ago Bianca Lopez teamed up with Alberta Vita and started talking about rocking the boat in a provincial city like Padua. The challenge was to bring a breath of fresh air to the city, to show their Italian counterparts how lively the American jewelry scene is, and, above all, to promote their strategy for building effective bridges between school education and professional careers. This, at least, was the theoretical plan.

Joe Sheehan: The Quick and the Dead

Velvet da Vinci, San Francisco, California, USA

My work provides an opportunity to gain leverage in relation to ideas of place and identity and to work against the overly simple notion that cultural relationships are bound to an us-and-them dynamic. Good artwork should operate like a big mirror, so that the viewers can see not only themselves, but those around and behind.

This Summer I Am Re-reading…

Jean Baudrillard’s Simulations

For many, Simulations was the work of a prophet, not least for the art world, which succumbed to his ideas and used them to define what appropriation artists or the “pictures generation” were about. (Baudrillard later disappointed the art world by claiming that “all of the openings, hangings, exhibitions, restorations, collections, donations and speculations” were part of a conspiracy to conceal that art didn’t exist.)

Stephie Morawetz: Night and Day

Ornamentum Gallery, Hudson, New York, USA

With a background in fashion and millinery, Stephie Morawetz playfully constructs her jewelry with bright colors, overwhelming scale, and expressive shapes—creating adornment for a future when plastic is a rare commodity, and people of mixed cultures are not afraid to speak out loud through jewelry.

Do You Read Me, HAL?

Jana Brevick Installs a Spaceship at Bellevue

The Atomic Exfiltrator ends at a glowing green table supported by bulky aluminum legs. Beyond sits a static white wall—intended to read as the perimeter of a mission control station. Melodramatic and hokey, the space conveys the comedic affect that defines Brevick’s 1960s cinematic precursors. She, too, is scripting an adventure from within a cardboard box.

Talking with Manfred Bischoff

I think there is a difference between conversation and real talking. Real talking doesn’t exist very much. Most talk is just conversation, which I don’t really like. You cannot force real talk—and sometimes it can be overwhelming. Real talking is when language comes. It’s not guided by you. You might feel it, but only later do you recognize that it was there.

From the Forum