Inaugurating the Institute of Contemporary Art Boston’s new, 15,000-square-foot satellite location, called ICA Watershed, is a self-titled solo exhibition by Diana Thater, curated by Eva Respini with Cara Kuball.
Responding to this growing anxiety, Candice Breitz’s Love Story (2016) takes up conventions and tropes for representing atrocity by mining the cinematic medium’s capacity for eliciting empathy, while also highlighting the ways in which the screen reinforces distance.
Readings of Mika Rottenberg’s work nearly always herald it as Marxist (or at least anti-capitalist) critique. It’s undeniable that her works address issue of labor, and that such a topic is imperative. But such readings of Rottenberg’s work are too simplistic: taking on factory work does not a Marxist critique make, but moreover, such readings overlook her works’ strongest points.
Having grown up in the politically conservative American South, I was first exposed to feminist thought not by my community, but by the film Legally Blonde.
Like all walls it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on.