DON BAUM IT: Money And Relevance In Art In Chicago

DON BAUM IT: Money And Relevance In Art In Chicago

Guest Post by Britton Bertran The art economy in Chicago – specific to the visual art market – is busted.  It doesn’t work and hasn’t worked for a long time.  Yes, this a provincial observation as we are in a global society, but ask any commercial gallery...
A New Samarkand:  Regionalism in the Age of Globalization

A New Samarkand: Regionalism in the Age of Globalization

I should say now that I have never been to Samarkand (in present-day Uzbekistan), and that my views of it have been shaped almost entirely by its mythical role in Clive Barker’s novel Galilee. A quick bit of slacker research, though, reveals the essential nature...
Artist Profile: Jenny Polak

Artist Profile: Jenny Polak

New York City-based artist Jenny Polak has long dealt with issues of citizenship and legality through her site-specific and socially-engaged projects. Drawing heavily on her background in architecture, but working across a variety of media, Polak’s work brings human...

“I’d be safe and warm if I was in LA…”

Towards the end of The Function of Criticism, Terry Eagleton suggests that the “role of the contemporary critic,” which is of course a different thing than the function of criticism – right? a role and a function are different things, but of course the function of something might be to provide a role, or a role might be to serve a function, in both cases it seems like function is greater than, trumps or possibly dictates, role – is to reconnect “the symbolic to the political,” by which he means “engaging through both discourse and practice with the process by which repressed needs, interests, and desires may assume the cultural forms which could weld them into a collective political force.” He is emphatic in pointing out that this role, this idea, is not new at all, but – like many ideas around a liberatory role for art, theory, etc – harks back to an earlier historical moment.