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Activist and cultural critic, I am a former academic My new book Art and Politics… more »

Jun 27, 2013 artandpoliticsnow commented on Opening Tomorrow: 30 Years of Japanese Fashion at Seattle Art Museum.
Aren't they fabulous. No need to really say anything about it, they speak for themselves so clearly!
Mar 26, 2013 artandpoliticsnow commented on I Went to A Big Spectacle and All I Got Was This Big Spectacle (SAM's Big Unveiling).
Well take a look at my facebook comment and photos. Terry Riley's piece definately made the piece work. The video was flatfooted and obvious, but with the music it was enhanced. Without the music, not much but ornamental wall paper. Aitkin's is a formalist, about process. Riley's work is conceptual, emphasis on thought, but the poetry creeps in. No poetry in Aitkin!
Nov 18, 2012 artandpoliticsnow commented on 216 Nipples Later.
Sexual harassment in the work place needs to be Sharon Arnold's next show, or perhaps "women and rape," or perhaps just "women's rights" if she can't handle too much direct content ( except in a mediocre print)
This is a pathetic art work, and should never have been shown at all.
Nov 10, 2012 artandpoliticsnow commented on Sex at SeattleĀ Art Museum.
And of course very few women of color, two works by Adrian Piper,one in the Jacob Lawrence Gallery Thanks to Sandra Jackson Dumont. And the sensational Christa Bell.
Last week we had had Arts and Social Change symposium, which was really about racism in the Seattle art world.There are tons of talented women artists of color in Seattle showing in the periphery.
Racial parity will be even longer in coming to SAM downtown. ( Marita Dingus is in the African section).
Jul 2, 2012 artandpoliticsnow commented on What We Lost That We Never Had.
Hi Jen. That is a creative approach to the story.
Thanks for such a thorough job.
You might want to know that I was the one that tracked down those missing sculptures in Philidelphia. It was really exciting. I have pictures of them. They are being re- installed there, we think, at the inner city shopping mall that commissioned them from Washington in the late 60s. Sadly they were vandalized only one day after they were first installed.
Susan Platt
Jun 21, 2012 artandpoliticsnow commented on Currently Hanging: The Quiet, Talking Structures of Black History in Ronald Hall's Paintings.
Thanks for reviewing this. He is a wonderful artist.
Nov 7, 2011 artandpoliticsnow commented on Seeing Double.
Jen To supplement your coverage, your readers can read my blog- on the Istanbul and Venice Biennales. Just entering those names in the search on the blog will bring up the essays. I have written about seven essays. Two on the Istanbul Biennial, one on the exhibition of Turkish Women's Art across from it in the Modern Museum, and about five on the Venice Biennale, covering several pavilions which will supplement your perspectives.
I also published an article on about the Venice Biennale.
It is impressive that in only two days you could come up with anything. And coincidentally, that Calder simulation contextualized was also one of my favorite works.
Oct 20, 2011 artandpoliticsnow commented on Glossing Over Upheaval and Violence.
Jen I am excited that your articles are getting more and more political! This is great. How did you know those facts? This is definately the current trend in art museums, to put the art in the larger political context, as the Miro show did in London this year at the Tate Modern. And in Istanbul you saw the great piece about the Calder in the context of World War II
Bravo Jen!!
I do differ on the subject of Mimi Gates work at the SAAM. In this day of budget cutting it is great that she has endowed events there that appeal to a wide audience and feature serious scholars.
I also have to say that I personally love shows that bring together contemporary and ancient art in dialogue, as with the great piece by Do Hoh Suh.
Apr 16, 2011 artandpoliticsnow commented on The White Audience at the Black All My Sons.
I am wondering what that comment means. The Intiman is going away??
Anyway, has our critic not been to other plays in Seattle acted by blacks and attended by dominantly white?? It is not unusual. We are talking about class and culture orientation. The plays at Intiman and Rep are mainstream. There is a lot of alternative, out of sight mutli ethnic culture in this city in all the arts that never gets reviewed, never gets any support from the press. May I r ecommend that the media look a little more into the city, and not settle for the obvious.
That said, Ruined was a spectacular play and The Brothers Size also, the fact is that we are seeing more and more plays themed around ethnic subjects.
I also love the fact that Arthur Miller's plays work so well with black actors. Death of a Salesman a couple of years ago at the Langson Hughes Center, underscored that the human condition is for everyone, not just white people.