Blackness As The Original Technology: American Artist’s “Black Gooey Universe”
Art

Blackness As The Original Technology: American Artist’s “Black Gooey Universe”

Who can evade an inevitable reference to Charlie Brooker’s Black Mirror while speaking about technology and dystopic future? It is tempting to compare American Artist’s exhibition Black Gooey Universe at HOUSING gallery to Black Mirror, even though the connection risks limiting the vastness of the former’s critical engagement with technology to a Netflix series. But … Continue reading

I Cared, But What Did It Do?: Juliana Huxtable’s ‘A Split During Laughter At The Rally’
Art

I Cared, But What Did It Do?: Juliana Huxtable’s ‘A Split During Laughter At The Rally’

Juliana Huxtable just gets it. It’s the last day to view Huxtable’s solo exhibition A Split During Laughter at the Rally at Reena Spaulings Fine Art. The utter contemporaneity of the works is owed to how well she captures the humorously chaotic contradictions in today’s political climate, where the urgency to outwardly appear activist has … Continue reading

Same, Girl: Vibing with Amy Feldman’s ‘Nerve Reserve’
Art

Same, Girl: Vibing with Amy Feldman’s ‘Nerve Reserve’

There is something comforting about seeing proof that someone else feels the same way you do, a tactile representation of emotional exhaustion and bleak pessimism given everything *gestures* going on. Amy Feldman, I feel you. Feldman’s Nerve Reserve at James Cohan Gallery touches upon the artist’s own personal history with anxiety, and the inner turmoil … Continue reading

Eating (Out) The Other: Western Audiences And ‘The Handmaiden’
Film

Eating (Out) The Other: Western Audiences And ‘The Handmaiden’

Park Chanwook’s latest masterpiece The Handmaiden is a wonderfully claustrophobic, seductive thriller set in 1930s Korea, without any white persons appearing to save the day or infiltrating the plot. The film has received resounding praise from critics and audiences alike, proving once and for all that despite having no literal projection of themselves within the storyline, white audiences can find an all-Asian movie both entertaining and valuable. The film’s lucrative success condemns any excuses for whitewashing in order to appeal to Western audiences, which was most recently used by Chinese director Zhang Yimou in his film The Great Wall. Continue reading