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Chicago has a relatively limited commercial gallery system compared to other major national and global metropolitan areas, which has contributed to an overall context that doesn’t strictly center the commercial gallery as the sole path to a long-term, rigorous practice.
A shape of paper trimmed by an astronaut—from a standard sheet into something like a letter M—floats in zero gravity.
Not long ago the great English critic and historian of photography Steve Edwards complained that art historians have “paid remarkably little attention to the petite bourgeoisie,” and particularly so its role as “the invisible social glue.
Much has been written about how global communication technologies have fostered a network-based society, even a network-generated society.
Among the decenterings we have witnessed recently is the erosion not only of art’s autonomy but of how the term “autonomy” itself might mean.
Rosalind Krauss has argued that capitalism, not aesthetics, is the prevailing principle behind art.
In The World Republic of Letters, critic Pascale Casanova lays out the conditions undergirding global literary power. Perhaps not too surprisingly, her exceptional chronicle is also an uncanny echo of the artworld.