“Got a womb? Welcome to hell”

By Agata Tumiłowicz-Mazur

JUNE 2022 | Field Notes

“Got a womb? Welcome to hell,” I say to you, my fellow beings from across the Atlantic— alive, yet condemned to a life that belongs to you no longer. I am no Virgil but I’ve already been here for a while so let me lead you through the various circles of hell. Sit back, you won’t relax, but please make yourself at home. This hell is as old as time, as the specter of death is inextricably embedded in life.

Data/Body: Corpus and the Cloud Empire of our Lives

By Charlotte Kent

SEPT 2022 | Art and Technology

My last column addressed generative art, a practice in which artists often use data sets to create complex works about our world. But where does that data come from? And, more importantly, can the aestheticization of data ignore its historical context or the privacy issues of its contemporary context?

Rose Nestler: too bad for heaven, too good for hell

By Elizabeth Buhe

APRIL 2022 | ArtSeen

The ten fabric sculptures on view in too bad for heaven, too good for hell at Mrs. prove that Rose Nestler is an exceptional artist, able to align the formal manipulation of her materials and the conceptual contours of her message so closely that the result is both wholly her own and wholly convincing.

Willie Birch: Chronicling Our Lives: 1987–2021

By Amanda Millet-Sorsa

MAY 2022 | ArtSeen

Willie Birch has exhibited his work in New York for the first time since 2000 at the Fort Gansevoort Gallery located in the Meatpacking District. Originally from New Orleans, Birch is no stranger to New York City. Aside from Broken Dreams (Tattered White Picket Fence) (2020–21), the exhibition centers on Birch’s New York period (1983–1997).