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Zilia Sánchez’s Sinuous, Overtly Sensual Forms

February 3, 2020 By Phoebe Hoban Leave a Comment

at Galerie Lelong & Co (ended) and El Museo Del Barrio, NYC (through March 22)
Reviewed by Pheobe Hoban

Cuban-born Zilia Sánchez, 93, has always been ahead of the curve, even if she has remained for the most part unknown outside her adopted country, Puerto Rico. Her elegant, shaped canvases, many of them takeoffs on the female form, hold their own with the best of Minimalism, as does the work of that other long-forgotten and now much-acclaimed Cuban-born artist, Carmen Herrera. But unlike Herrera’s hard-edged geometric Minimalism, Sánchez creates overtly sensual sculptural paintings, with undulating curves and rounded protuberances that resemble breasts and genitalia, while simultaneously evoking spare, pneumatic topographies. [Read more…]

Filed Under: Art, Artist, The Line

Sarah Sze, Poet Of Clutter

November 21, 2019 By Phoebe Hoban Leave a Comment

at Tanya Bonadkar Gallery, NYC and MoMa, NYC
Reviewed by Phoebe Hoban

For several decades, Sarah Sze has artfully transformed detritus into art, whether it’s the corner of Central Park at 59th Street and Fifth Avenue, where she submerged a mini-replica of the white brick apartment complex across the street, filling it with objects from socks to alarm clocks, (Corner Plot, 2006), or the clever 1997 transformation of a closet in the  Tribeca loft of Michael and Susan Hort, major Manhattan art collectors. Consider her the poet of clutter. [Read more…]

Filed Under: Art, Artist, The Line

Presenting The Sexual Essence Of Morris Graves

July 31, 2019 By Phoebe Hoban Leave a Comment

at Michael Rosenfeld Gallery, NYC (through August 2)
Reviewed by Phoebe Hoban

Morris Graves is an eloquently quiet artist. And yet the subtle chords he strikes in his delicate, musical compositions have a remarkably powerful resonance, a feeling of total “rightness” that certain artists can achieve, often with the least apparent drama.

Graves, a mostly self-taught, transcendental painter, created works that stand as painted haikus. An avid gardener, many of his paintings are of birds and flowers. His 2001 obituary recalled the artist, in his youth, “rushing here or there with flowers or canvas in hand.” “There is,” as he once put it, “no statement or message other than the presence of flowers and light.” [Read more…]

Filed Under: Art, Artist, The Line

An Army Of Women Warriors In Ann Shostrom’s The Rising

July 23, 2019 By Phoebe Hoban 2 Comments

at Elizabeth Harris Gallery, NYC
Reviewed by Phoebe Hoban

Ann Shostrom’s army of women warriors fills the front room of the Elizabeth Harris Gallery, a ghostly troop draped in shades of white: the traditional color of virgins, brides and suffragettes. Tall and graceful, evoking Corinthian columns, these seventeen fabric figures are both timeless and completely of the moment. Elegantly pieced together from sinuous scraps of material foraged from salvage sales, thrift stores, friends’ childhood wardrobes and Shostrom’s own closet, they simultaneously suggest Miss Havisham’s endless jilted vigil, the courageous members of the #Metoo Movement, and the chorus of 100-something congresswomen who earlier this year proudly wore ivory, ecru and alabaster to President Trump’s second State of the Union address. While explicitly feminine, they are also plainly phallic, iron fists within velvet — or in this case lace, linen and silk — gloves. [Read more…]

Filed Under: Architecture, Art, The Line

Ross Bleckner’s Burnt Offerings

June 10, 2019 By Phoebe Hoban Leave a Comment

Pharmaceutria
at Petzel Gallery, NYC (through June 15)

Reviewed by Phoebe Hoban

Ross Bleckner’s luminous canvases of the 1980s and 90s, often rendered in grey and evoking distant galaxies, possess an otherworldly light, which is apt, since many of his paintings of that time memorialize those lost to the relentless onslaught of AIDS.

Bleckner, whose first show in five years is on exhibit at the Petzel Gallery through June 15, is still making elegiac, gauzy images of loss. But this time, the loss that plagues us is, sadly, self-inflicted: our current political and social divisiveness, and more portentously, the plight of our planet, that Garden of Eden we have managed to more or less destroy. [Read more…]

Filed Under: Art, Artist, The Line

Alice Neel: Freedom

April 11, 2019 By Phoebe Hoban Leave a Comment

at David Zwirner, NYC (through April 13)
Reviewed by Phoebe Hoban

In a sense, Alice Neel’s portraits are always naked, at least psychologically; Neel brilliantly stripped her subjects down to their bare essence. As Joseph Solman, a fellow artist and old friend from her Socialist Realist days, once put it, “She turned a person inside out. If she did a portrait of you, you wouldn’t recognize yourself, what she would do with you. She would almost disembowel you, so I was afraid to pose for her. I never did pose for her.” Or as another old friend, artist Benny Andrews said, “I always said she was looking at you like an X-ray…” [Read more…]

Filed Under: Art, Artist, The Line

Andy Warhol: By Hand

March 25, 2019 By Phoebe Hoban Leave a Comment

at The New York Academy of Art
Reviewed by Phoebe Hoban

We are so accustomed to seeing Warhol as a seminal game changer that it’s easy to forget that like most artists, he started out in a much more conventional vein, as evidenced by his junvenilia and other early works on display at the Whitney’s wonderful major Warhol survey. The New York Academy of Art’s recent exhibit, Andy Warhol: By Hand, running somewhat concurrently with the Whitney retrospective, offered a rare opportunity to sample Warhol’s seductive skills as a draughtsman and illustrator—apart from such well-known commercial work as his I. Miller shoe ads and album covers. [Read more…]

Filed Under: Art, Artist, The Line

James Siena: Painting

February 5, 2019 By Phoebe Hoban Leave a Comment

at Pace Gallery, NYC (through February 9)
Reviewed by Phoebe Hoban

James Siena has had what might be called a linear career. Whether painted, drawn or sculpted, his work is purely line-based. Yet his art always avoids the shortest distance between two points; i.e. the simple straight line. Instead he has continued to evolve work based on what he calls “a visual algorithm,” creating recursive labyrinthine canvases; intense but relatively small-scale repetitive patterns painted in enamel on aluminum. [Read more…]

Filed Under: Art, Artist, The Line

Joan Semmel: A Necessary Elaboration

February 1, 2019 By Phoebe Hoban Leave a Comment

at Alexander Gray Associates, NYC (through February 16)
Reviewed by Phoebe Hoban

Joan Semmel is the master of the anti-Selfie. For decades she has turned the camera on herself, using candid photographs as references for her large-scale nudes, which are both sumptuous and unsettlingly intimate. For an age obsessed with instant, miniature self-branding imagery, pervasively produced by iPhones and through Instagram, her large, flawed, vulnerable figures open a nearly forgotten door onto the pure pleasure of painted flesh. [Read more…]

Filed Under: Art, Artist, The Line

Julie Heffernan’s Hunter Gatherer

November 28, 2018 By Phoebe Hoban Leave a Comment

at P·P·O·W, NYC
Reviewed by Phoebe Hoban

Both a multi-faceted spin on the pervasive selfie and an erudite capsule of feminist history, Hunter Gatherer, Julie Heffernan’s epic show at P·P·O·W, her first in five years, is far too much to absorb in one viewing—or even a dozen. Typically, Heffernan’s painterly technique is classical, almost atavistic. In a series of nine extraordinarily detailed images, all completed in 2018, Heffernan creates a personal diary cum feminist manifesto with an overtly political content seemingly at odds with its self-consciously pretty form. [Read more…]

Filed Under: Art, Artist, The Line

Ron Baron’s Ode to a Void

November 12, 2018 By Phoebe Hoban Leave a Comment

at Studio 10, Brooklyn
Reviewed by Phoebe Hoban

In his ghostly installation, Ode to a Void, at Studio10, Brooklyn, artist Ron Baron has channeled a literally granular level of grief. Particles of pearlite, salt, sand and broken glass are sprinkled on the gallery floor in the pattern of a room-sized spiral resembling a cosmic corona. Placed seemingly at random on this winding road to nowhere — or at least nowhere on earth — are some 60 pairs of shoes, ranging from baby’s shoes to adult cowboy boots. They have been slip-cast in ceramic, and whatever their past life was, they are now frozen in time. [Read more…]

Filed Under: Art, Artist, The Line

Fred W. McDarrah: New York Scenes

November 1, 2018 By Phoebe Hoban Leave a Comment

at Steven Kasher Gallery, NYC (through November 3)
Reviewed by Phoebe Hoban

The Village Voice is, sadly, now a hallowed memory of the past, but many of its iconic images live vividly on through the work of Fred W. McDarrah, the publication’s first picture editor and its sole staff photographer for decades.

McDarrah, who died in 2007, aimed a powerful lens at some of the most creative and turbulent times in New York City’s history. Eighty of his vintage black and white photographs are on display at the Steven Kasher gallery, in a show that coincides with the publication of the comprehensive Abrams book, Fred W. McDarrah: New York Scenes. [Read more…]

Filed Under: Art, Artist, Image, The Line

Jenny Saville Still Manages To Amaze With Ancestors

July 20, 2018 By Phoebe Hoban 1 Comment

at Gagosian, NYC
Reviewed by Phoebe Hoban

Jenny Saville has always reveled in rendering flesh. Her earliest show at Gagosian, at the tail end of the 90s, established her ambitious scope: big, generously impasto’d gestural nudes that flew in the face of current painting trends. Lucian Freud once famously said that he wanted his “paint to work as flesh.” Saville also focuses on “paint as flesh,” but not in the  service of a heightened form of portraiture that physically embodies the sitter. Rather, Saville is interested in using paint to, as it were, flay the flesh she depicts, deconstructing her subject matter while simultaneously layering it with art historical references. [Read more…]

Filed Under: Art, Artist, The Line

Tomas Saraceno’s Literally Uplifting Solar Rhythms

June 8, 2018 By Phoebe Hoban 1 Comment

at Tanya Bonakdar Gallery, NYC
Reviewed by Phoebe Hoban

As much a visionary as he is an artist, Tomas Saraceno, a visionary artist, clearly follows in the footsteps of such innovators as Buckminster Fuller, Paolo Soleri, and others whose aesthetic brilliance parallels their deep desire to sustain humanity on this planet. The influence of his friend, the great Olafur Eliasson, for whom he briefly worked as a studio assistant, is obvious. But Saraceno goes beyond flexing the muscles of his considerable technical flair to invent designs that are or can be implemented as part of his Aerocene project, started in 2015, the stated goal of which “proposes a new epoch, one of atmospherical [sic] and ecological consciousness, where we together earn how to float and live in the air, and to achieve an ethical collaboration with the environment.” [Read more…]

Filed Under: Art, Artist, The Line

Laurie Simmons: Avatar Artist For Our Age

June 4, 2018 By Phoebe Hoban Leave a Comment

From two concurrent exhibitions:
Clothes Make The Man: Works from 1990-1994, at Mary Boone Gallery
2017: The Mess and Some New, at Salon 94, NYC
Reviewed by Phoebe Hoban

We live in the age of the avatar, and over the course of several decades, Laurie Simmons has proven herself to be the ultimate avatar artist for our age. (Think of her shocking 2015 “The Love Doll” series: sophisticated Japanese sex toys beautifully chronicled in suburban household settings, like Dare Star’s classic 1950s character “The Lonely Doll.”) [Read more…]

Filed Under: Art, Artist, The Line

The Raw And The Cooked: Claudia Doring-Baez And Sophie Iremonger

April 13, 2018 By Phoebe Hoban Leave a Comment

at La MaMa La Galleria, NYC
Reviewed by Phoebe Hoban

Claudia Doring-Baez is fascinated with repurposed images; images culled through memory or even re-enacted. As a graduate student at the Studio School, she devoted an entire series to Cindy Sherman’s iconic Untitled Film Stills, appropriating the cinematic stills that Sherman herself had appropriated, and recreating them in oil paint; a true meta work. [Read more…]

Filed Under: Art, The Line

Judy Chicago’s PowerPlay: A Prediction

March 8, 2018 By Phoebe Hoban Leave a Comment

at Salon 94, NYC
Reviewed by Phoebe Hoban

Consistently miles ahead of the curve, the uber-feminist Judy Chicago has been so prescient that it has, at various key moments, worked against her. It sometimes seemed—and certainly must have felt—that despite presaging much of our current predicament, she was, unfortunately, pissing into the wind for entirely different reasons than the super-hero-sized malevolent male in her series, PowerPlay: A Prediction, shown at Salon 94. This evil-looking, nearly headless giant boasts a six-pack and a relatively small member, which he sprays like a brainless hose, heedlessly poisoning the hills and valleys of our planet. The painting, done in 1984, is called, appropriately enough, Pissing on Nature. [Read more…]

Filed Under: Art, Artist, The Line

Judith Bernstein’s Money Shot

February 24, 2018 By Phoebe Hoban 1 Comment

at Paul Kasmin Gallery, NYC
Reviewed by Phoebe Hoban

Judith Bernstein’s work has always been brazenly in-your-face. In the early-to-mid 1970s the self-styled “proto-feminist” was best-known for her huge charcoal drawings of hairy, phallic screws, one of which was censored from a museum show in Philadelphia in 1974, despite a petition signed by Louise Bourgeois and John Coplans. A co-founder of the alternative gallery, A.I.R., which showed only female artists, she more or less disappeared from the art world until 2012, when the New Museum featured “Hard,” a show of her large-scale work, including a 66-foot long mural painted directly onto its lobby windows, followed by two shows at Mary Boone in 2015 and 2016. [Read more…]

Filed Under: Art, Artist, The Line

Louise Bourgeois: An Unfolding Portrait

January 26, 2018 By Phoebe Hoban 1 Comment

at the Museum of Modern Art, NYC
Reviewed by Phoebe Hoban

The name Louis Bourgeois has become justly synonymous with her giant spiders and other large-scale sculptures. But there has always been another, more intimate dimension to her work. One that is beautifully explored in The Museum of Modern Art’s exquisite show of her prints and illustrated books, Louise Bourgeois: An Unfolding Portrait.

This under-appreciated aspect of Bourgeois’ genius, ranging over seven decades of her long and productive life, includes 265 prints, as well as about two-dozen sculptures and a smattering of drawings and paintings. The exhibit was curated by Deborah Wye, a long-time Bourgeois friend and scholar, who was also responsible for the museum’s 1982 Bourgeois retrospective, the first that MoMa ever gave a female artist, and is now its curator emerita of prints and illustrated books. The work is striking for its delicacy and hyper-attenuation, as well as for its poignant psychological and erotic content; it makes palpable Bourgeois’ famous motto: “Art is a guaranty for sanity.” [Read more…]

Filed Under: Art, Artist, The Line

The Meta-Outsider Work of Carol Rama

July 18, 2017 By Phoebe Hoban 1 Comment

Antibodies
at New Museum, NYC
Reviewed by Phoebe Hoban

The art of Carol Rama occupies a strange and singular space; Rama, a self-confirmed outsider, is poised on a chosen cusp. Not a true outsider artist herself (her intense, self-conscious stoking of her own particular obsessive-compulsive neuroses precludes that) she provides a unique meta-vision — even a celebration — of the outsider mindset. She is a self-proclaimed insider of an outsider world, which she obsessively observes, reveling in recording its scatological and erotic impulses.

Henry Darger and Martin Ramirez were equally obsessed: it is fair to say that they all, including Rama, suffered from some degree of obsessive-compulsive disorder, just as does the uber-successful artist Yayoi Kusama. Louise Bourgeois once famously called her art “a form of therapy.” Or, as Rama put it, “We all have our own tropical disease within us, for which we seek a remedy. My remedy is painting.” [Read more…]

Filed Under: Art, Artist, The Line

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The Line

An interview with Alison Saar, at Riot Material magazine.

An Interview with Alison Saar

By Ricky Amadour As an indefatigable voice for women of color and the greater human spirit, Alison Saar recomposes fractured histories into multivalent sculptures. Saar curated SeenUNseen, a group exhibition at L.A. Louver Gallery, with a focus on spirit portraiture. Throughout human existence there has been a predilection to the allure of the unseen. Hidden […]

William S. Burroughs on a bed, smoking a cigarette.

“The Opposite of Literature:” Mary McCarthy’s Feb. ’63 Review of Naked Lunch

From the inaugural print edition of The New York Review of Books In remembrance of Jason Epstein, originator and co-founder of NYRB RIP 1928-2022 by Mary McCarthy Naked Lunch  by William S. Burroughs Grove Press, 304pp., $14.49 “You can cut into The Naked Lunch at any intersection point,” says Burroughs, suiting the action to the […]

Remembered and Remade: James Castle’s Conjurings of Mind

James Castle at David Zwirner, NYC (through 12 February 2022) by Andrew Martin James Castle: Memory Palace John Beardsley Yale University Press, 280pp., $65.00 NYR Every James Castle picture seems to contain a secret. Approaching one of his works for the first time, you peer into pockets of shadow and smudge, examining the depopulated landscapes […]

Vulgar Genres: Gay Pornographic Writing and Contemporary Fiction

Vulgar Genres: Gay Pornographic Writing and Contemporary Fiction

An excerpt from a new book which examines gay pornographic writing, showing how literary fiction was both informed by pornography and amounts to a commentary on the genre’s relation to queer male erotic life. —The University of Chicago Press Vulgar Genres: Gay Pornographic Writing and Contemporary Fiction by Steven Ruszczycky University of Chicago Press, 216pp., $30.00 In the United […]

Hilary Brace, Drawings and Tapestries, is reviewed at Riot Material magazine.

Darkness Made Visible in Hilary Brace’s Drawings and Tapestries

at Craig Krull Gallery, Bergamot Station (through 19 February 2022) Reviewed by Eve Wood The intricacies and inherent beauty of the natural world are rarely celebrated these days, and when artists do turn their attention to the surrounding landscape, the resulting images are usually ones of devastation and chaos — charting the movement of fires, […]

The Tragedy of Macbeth 

A film written and directed by Joel Coen Reviewed by James Shapiro NYR Those who have long followed the Coen brothers and their cinematic universe of criminals, nihilists, and overreachers may see in Joel Coen’s The Tragedy of Macbeth (2021) a long-deferred reckoning with Shakespeare, who has been there before them. We don’t typically think of Shakespeare […]

John Divola, From Dogs Chasing My Car In The Desert,1996-98,

Illuminating Images: Liquid Light and Golden Hour and the Affective Force of Non-Didactic Art

at the Vincent Price Art Museum, Los Angeles (through 5 February 2022) Reviewed by Johanna Drucker What is the difference between a wall label and a work of art? The unrelenting didacticism that prevails in current gallery and museum exhibits of contemporary art makes it seem that many curators and artists cannot answer that question. […]

The Occult Works of Ray Robinson, with an essay by Christopher Ian Lutz, is at Riot Material Magazine.

The Brush as Luminous Torch: Ray Robinson’s Blazing Portals Into the Divine Feminine

The Third Door:Occult Works of Ray Robinson, at the Buckland Museum of Witchcraft and Magic (through 15 January) by Christopher Ian Lutz Burn the Sun The persecution of the witch is a war of the hours. The Inquisition that charged women with witchcraft was not just about controlling women’s bodies – it was a crusade to extinguish […]

An Interview with Artist Gala Porras-Kim is at Riot Material Magazine.

An Interview with Artist Gala Porras-Kim

by Ricky Amadour . Interdisciplinary artist Gala Porras-Kim frames her research to highlight and question the current institutional practices of conservation, acquisition, and deaccession. Acting as an investigator of cultural artifacts that correspond to institutional collections, Porras-Kim deep dives into the expansive histories, stories, and functions of those objects. The artist’s first solo exhibition in […]

Seizing the Snowmelt: Industrial Agriculture is Draining Our State Dry

by Mark Arax The Dreamt Land: Chasing Water and Dust Across California by Mark Arax Knopf, 576pp., $25.00 MITTR The wind finally blew the other way last night and kicked out the smoke from the burning Sierra. Down here in the flatland of California, we used to regard the granite mountain as a place apart, our […]

The Great Flood of 1862

The Looming Catastrophe Few in California Are Aware Of (or in Want to Address)

An excerpt from Perilous Bounty: The Looming Collapse of American Farming and How We Can Prevent it, by Tom Philpott. THE FLOOD NEXT TIME In November 1860, a young scientist from upstate New York named William Brewer disembarked in San Francisco after a long journey that took him from New York City through Panama and then […]

Precontact California Indians: Their Life Prior to Genocide

An excerpt from the first chapter of An American Genocide: The United States and the California Indian Catastrophe, by Benjamin Madley. CALIFORNIA INDIANS BEFORE 1846 Within a few days, eleven little babies of this mission, one after the other, took their flight to heaven. -Fray Junipero Serra, 1774 We were always trembling with fear of […]

Laurie Anderson's "The Weather," is reviewed at Riot Material magazine.

An Atmospheric River of Wonder in Laurie Anderson’s The Weather

at the Hirshhorn Museum and Sculpture Garden, Washington D.C. (through 31 July 2022)  Reviewed by Nancy Kay Turner             “What are the days for? To put between the endless nights. What are the nights for? To slip through time into another world.”  –Laurie Anderson             “Stories are our weather”  –Laurie Anderson Laurie Anderson is a Renaissance polymath whose […]

Maria Lassnig Augenglaeser - Autoportraets (1965)

Maria Lassnig: The Paris Years, 1960–68

at Petzel Gallery, New York City Reviewed by James Quandt Maria Lassnig: Film Works edited by Eszter Kondor, Michael Loebenstein, Peter Pakesch, and Hans Werner Poschauko FilmmuseumSynemaPublikationen, 189 pp., $35.00 NYRB Many female artists — most recently Carmen Herrera, Faith Ringgold, and Lorraine O’Grady — have had to wait a lifetime to be accorded the recognition […]

Marcellina Akpojotor’s Sublime Matriarchy

Daughters of Esan at Rele Gallery, Los Angeles (through 4 December 2021) Reviewed by Eve Wood Marcellina Akpojotor’s second solo exhibition, Daughters of Esan, continues her exploration into notions of personal intimacy, drawing on her own relationships with her family and the tremendously powerful and transformational possibilities of education and love. Inspired by her great-grandmother’s […]

An interview with Rachael Tarravechia, at Riot Material

Fear and Self-Loathing in Rachael Tarravechia’s Wish You Were Here

at Launch F18, NYC (through 4 December 2021) by Danielle Dewar The horror genre is rooted in a desire for catharsis by means of dispelling fears and anxieties that live deep within a subconscious mind. Since we often crave a controlled release of such emotions, the use of the macabre within an artist’s practice allows […]

Umar Rashid, aka Frohawk Two Feathers, exhibition review of En Garde/On God is at Riot Material magazine

Histories Disembowled in Umar Rashid’s En Garde/On God

at Blum and Poe, Los Angeles (through 18 December 2021) Reviewed by Ellen C. Caldwell In En Garde/On God, Blum & Poe showcases the work of artist Umar Rashid (also known by the pen name Frohawk Two Feathers). Featuring thirteen large paintings and one sculpture in Rashid’s hallmark style, the exhibition highlights works that are bold […]

A Grid Gone Wholly Off in My Monticello

Reviewed by Bridgett M. Davis My Monticello By Jocelyn Nicole Johnson Henry Holt & Company, 210 pp., $13.49 NYT In the essay “The Site of Memory,” Toni Morrison described the crafting of her fictional worlds as a quest to access the interior lives of her ancestors. “It’s a kind of literary archeology,” she explained. “On the […]

The Web of Mind Throughout Our Earth

Reviewed by Zoë Schlanger Entangled Life: How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures by Merlin Sheldrake Random House, 352 pp., $28.00; $15.48 NYRB Imagine that you are afloat on your back in the sea. You have some sense of its vast, unknowable depths—worlds of life are surely darting about beneath […]

Drugs Amongst Other Adult Liberties

Reviewed by Mike Jay Drug Use for Grown-Ups: Chasing Liberty in the Land of Fear by Dr. Carl L. Hart Penguin Press, 290 pp., $16.94 NYRB The modern meaning of “drugs” is of surprisingly recent origin. Until the twentieth century, the word referred to all medications (as it still does in “drugstore”); it was only […]

Rashid Johnson, Anxious Red Painting August 20th. At Riot Material

Break//Breathe: Broken Men That Glitter

by Allyn Aglaïa Aumand On the coherence of fracture an essay in fragments on fragments * I had a lover once, who self described as a volcano, but fully encased. Make space to let it out sometimes, I told him. That’s why I wanted to see you today, he said.

Against White Feminism: Notes on Disruption

An excerpt from a new book W. W. Norton calls “a radically inclusive, intersectional, and transnational approach to the fight for women’s rights.”  Against White Feminism: Notes on Disruption by Rafia Zakaria W. W. Norton, 256pp., $23.95 There is an important distinction between what Nancy Fraser calls “affirmative change” and actual transformational change. The former is […]

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RIOT MATERIAL
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