Hunter Braithwaite
HUNTER BRAITHWAITE is a writer and the Founding Editor of the Miami Rail. He lives in New York.
In Conversation
TREVOR PAGLEN with Hunter Braithwaite
Trevor Paglen shines a light on the shadowy confluence of technological innovation and state misconduct. Whether by photographing secret military installations from afar, or by parsing official documents to identify telling omissions, the aim is to see that which has been purposefully obscured in hopes that visualization leads to consideration.
In Conversation
NICOLAS LOBO with Hunter Braithwaite
Nicolas Lobo’s art maps the conduits linking flesh to industry, the porous bedrock beneath cities dedicated to banal leisure and amorphous capital. For the past nine years he has lived in Miami, creating objects out of systems clotted to a trickle.
In Conversation
DAVID SALLE with Hunter Braithwaite
I met David Salle in the crowded lobby of the Joule Hotel on Main Street in downtown Dallas. He was in town for the opening of Debris, a large show of his paintings and ceramics on view through August 23, 2015, at the Dallas Contemporary.
J.V. Martin: Something is Rotten in the State of Everything Everywhere
By Hunter BraithwaiteIn March 1965, a bomb ripped through the apartment of J.V. Martin, painter, provocateur, and leader of the Scandinavian chapter of the Situationist International. In what was rumored to be an attack by the Danish secret service, the bomb injured Martin’s five-year-old son, burned out the entirety of his apartment, and destroyed the bulk of his work and archive up to that point, including his “Thermonuclear Map” paintings—heavily loaded canvases documenting the landscape in the hours after a nuclear Armageddon, their savagery evident in a materials list that included diapers and chunks of rotting cheese.
LORIS GRÉAUD The Unplayed Notes Museum
By Hunter BraithwaiteOn the opening night of The Unplayed Notes Museum, Loris Gréaud’s first solo museum show in the United States, guests sauntered around the Dallas Contemporary until a group of people, up to that moment hiding in the crowd, descended upon the art, ripping it from the walls, breaking it into pieces.
![Loris Gréaud, “[1] and [1] and [1] Riot” (2014.) Series of unique work. White marble pedestal, cast aluminum hand sculpture, stainless steel. Dimensions, each work: 190 × 20 × 20 cm. Courtesy Loris Gréaud and the Gréaudstudio.](https://brooklynrail-web.imgix.net/article_image/image/14881/Braithwaite-web1.jpg?w=200&q=80&fit=max)
AGNIESZKA KURANT:
Collective Intelligence
By Hunter Braithwaite
The spectre of collective labor haunts Agnieszka Kurant’s striking, timely exhibition at the SCAD Museum of Art.
Darren Bader: The American Express Holiday Show
By Hunter BraithwaiteLast fall I imprudently ran up my company Amex to buy materials for a body of sculpture I wanted to make. So begins Darren Bader’s latest foray into the funny, sexy, sad lives of objects: a compendium of wall-mounted and floor-balanced assemblages—knickknacks, tchotchkes, doo-dads, detritus, debris, and crap—all of which exclaim a certain thingness, plus a sentimental value somewhere between an Etsy-trained AI and at least 10,000 Midwestern monkeys banging out Hamlet.
