5 Notes for the "Side Hustle"
"Walis tambo" and the Capitol Insurrection
Andi Schmied's "Private Views: A High-Rise Panorama of Manhattan"
Did you dress up?
Yes, of course! I spent my entire budget I got for this arts residency on clothes and bags and manicures and makeup. But it wasn’t like anything very extreme — I was opting for sophisticated lady, somehow …
Understated but expensive.
Exactly — no brands. But after a while I realized that it absolutely doesn’t matter what I wear: From their point of view, you’ve passed the access, and you can do anything — anything is believable. For example, all the pictures were taken with a film camera, which is [gestures broadly] this big. I’d just ask, “Can I take some pictures for my husband?” which is a very obvious and normal thing to do. There were a few agents who noticed that it was a film camera, not a digital camera, and those who noticed asked, “Oh, wow, is it film?” And I’d always say something like, “Oh, my grandfather gave it to me — to record all the special moments in my life.” And they’d just put me in this box of “artsy billionaire,” and would start to talk to me about MoMA’s latest collection. So anything goes.
Interview with photographer Ryan Frigilana
Frieze: "American Artist Boards Up The Whitney"
Current Readings: 17 August 2020
Christine Sun Kim: 2019 Whitney Biennial
Took these four pictures when I was in NYC last year and caught the 2019 Whitney Biennial (I think there were six total prints, however). These works by Christine Sun Kim were new to me, and my favorite encounter from the exhibition. Below is a short interview with the artist and her work and processes.
Article via The New York Times Magazine
Artist Website: Christine Sun Kim
Frederick Douglass, photography, and the image of dignity
Ariella Aïsha Azoulay on imperialism, history, and "Unlearning the Origins of Photography"
The image above documents a fold-out picture spread from a rather large, sumptuous coffee table book about “Ancient Egypt”. It was purchased at a discount at a busy estate sale, which I guess means a third-party business managed a garage sale at a gigantic home.
I remembered this picture spread when I read the two passages below from Ariella Aïsha Azoulay. Reading them made me think about how photography, especially my earliest childhood encounters and consumption of pictures of the art and artifacts of “Ancient Egypt” and other civilizations, provided so much of the literal and figurative framings and frameworks for understanding the past. And later popular movies. The picture above, of a modestly sized space and the rough stacking of items, is nowhere near how movies like The Mummy have reimagined the vast, treasured halls of a Pharaoh’s just-broken-into-and-about-to-be-ransacked tomb, or something.
This particular experience and deployment of photography is not unique, it’s commonplace, and continues to enact and reproduce ideas of desire, sympathy, consensus, and extraction, croping out so much of the terror, power, and violence exercised upon others and their capacities for self-determination.
Azoulay’s article, published in 2018, was in service of her eventual book, Potential History: Unlearning Imperialism, which was published in 2019.