Glitching Time and Time-Based Media

By Charlotte Kent

OCT 2022 | Art and Technology

Time is a socio-technological system with profound organizing qualities that feels, these days, exceedingly oppressive. There’s never enough time! For anything. Calendars are the earliest containing device with the purpose of determining a social order; the history of the Roman calendar reveals the role of international and national politics that play out across each new temporal infrastructure. Our temporal orders have been designed through the global proclamation of Greenwich Mean Time in 1884 by colonial empires, the apocalyptic anxiety provocations of the doomsday clock established in 1947, the insistent instant-ness of digital time since the 1970s exacerbated by strings of video chat meetings of the last couple years, and the frenetic branding of our social/professional lives demanded by transnational corporate technology’s mediation of everyone and everything, all the time. It’s a mess.

Pamela Sneed: ABOUT time

By Jillian McManemin

JUL-AUG 2022 | ArtSeen

If you have any interest in poetry, you probably know Pamela Sneed—Black, lesbian, radical poet, and one of the infamous Grand Dames of the downtown scene. Her stage presence is formidable and her voice, revolutionary. Her 2020 book Funeral Diva published by City Lights Books looks back on her experiences during the AIDS Crisis while making correlations to COVID-19, and the ongoing layered impacts of racism, homophobia, and political brutality. In ABOUT time at Laurel Gitlen, Sneed’s visual practice merges with her poetic one, creating an exhibition that is fiercely outspoken, experimental, and personal.

Spencer Longo’s TIME

By Josh Schneiderman

SEPT 2022 | Art Books

The book uses unstapled pages from Time magazine as the bases of its collages. It shows what it feels like to live in a crumbling empire, in an era widely regarded as “the end of history.”

Frida Orupabo: Closed Up Like a Fist

By Margarita Lila Rosa

APRIL 2022 | ArtSeen

Frida Orupabo’s solo show at Nicola Vassell Gallery, Closed Up Like a Fist, is a visual encounter with the hauntings of the Black Atlantic archive. Drawing from a rich tradition of literary and visual archives that have aimed to salvage Black femmes from fossilized narratives, Orupabo’s exhibition reads as a cartography of Black femme precarity, delicately pinned up by the resolve to survive.