"First There's Play, Then There's Trouble" by April Freely

Added on by Lilly Hern-Fondation.

Uncanny, impenetrable, haunting is the work. The roofline continues forever. Where we might expect windows, key to easy personifications of home, no light is permitted. If a house is a body, this sculpture represents a form that is obscure even to itself. No one can look in, no one can see out. The form has no door, no mouth.

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"On Place: Physical, Imagined, Technological" by Amanda York

Added on by Lilly Hern-Fondation.

James Yakimicki’s paintings and drawings are fusions of landscapes omitting horizon lines, scale, and perspective in favor of aerial views and multiple vanishing points. His experiences living on the flat planes of central Indiana, the altitudinal heights of Boulder, Colorado, and the urban sprawl of New York City are incorporated into all of his works, which do not represent one place or event, but are conflations of many over time. Yakimicki introduces dreamlike elements into these environments, such as celestial formations or floating objects, and the result is alternately euphoric or nightmarish. Technology figures into his work as large mechanical assemblages, and his godlike vantage points allude to modern surveillance capabilities.

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"Cogitations on Surviving Language" by Ladi'Sasha Jones

Added on by Lilly Hern-Fondation.

So much of survival resides in living in abstraction. The overconsuming registers of injustice elicit an experimental living and cyclic rituals to undo, loosen, or see through the grips of violence. Survival engenders a critical labor that produces openings towards relief, reprieve, cultural creation, and self-organization. It is a process of mapping and mark making rather than escaping. The potential of unmaking the conditions of injustice is what we are motioning towards.

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"Liquid Assets, Lubricants: Sheida Soleimani’s 'The Medium of Exchange'" by Emily Watlington

Added on by Lilly Hern-Fondation.

Sheida Soleimani’s photographs and videos are both acerbic and illegible. The oil, the Shell logos, the hijabs, the keffiyeh, the doms, the subs, the queer bodies, and the caricatured faces of politicians: together, these referents speak to power dynamics at once gendered and geopolitical. Many of these cultural motifs read, to most Westerners at least, as pan-‘Middle Eastern,’ and while the specific actors and scenarios remain elusive, the sort of corruption and abuse of power the photographs embody is all too familiar.

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“The World in a Photograph” by Alexandra Nicolaides

Added on by Shona Masarin.

Sand drifts over the photograph, dusting it lightly in grey. The grey particles float, so softly, to become the hazy sky. Two women face the ocean. A heave and a hold, their hands are raised to the near-imperceptible line of the horizon, while each woman balances on one leg in the soft, wet sand. The women exist within the vast indeterminacies of sea and sky, earth and light. They are Atlas. Their look towards the horizon can be seen to stand-in for that of the photographer, Judy Linn.

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"Histories of Violence" by Angela N. Carroll

Added on by Shona Masarin.

Painter and mixed media artist, Peter Williams unpacks troubling histories of white supremacy and systemic oppression to create revelatory collective narratives about the persistence of violence against Black bodies. The devastating trend of unwarranted killings of Black boys and men at the hands of police officers, most of whom escaped federal conviction, catalyzed a departure from Williams’s lighter, more spiritual and reverent figurative abstract-portraiture towards more traumatic motifs. His latest body of work, With So Little To Be Sure Of, interrogates the systems and industries that perpetuate and uphold operational practices, legislation, and ideologies that normalize the dehumanization, subjugation, disenfranchisement and belittlement of African Americans.

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