As long as I can remember, I’ve organized and been involved in artist groups and collectives. It all started with “AYWAKE – Alliance of Young Women Artists Kreating Empowerment,” a small, informal salon I co-founded in college. I had been feeling isolated from other artists in the liberal arts milieu I was submerged in, and I ended up forming friendships in that group that became very important to me. I went on to participate in several other women’s crit groups and collectives as I pursued an art career. In reflecting on this experience recently, I realized that this kind of self-organized community has performed a crucial function in my art making, by providing a lens through which my artwork can be understood — and affirmed — by my queer feminist peers.
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The centerpiece of Chitra Ganesh’s new exhibition at the Brooklyn Museum, a mural that depicts the Hindu goddess Kali, has provoked the ire of the president of the Universal Society of Hinduism (USH). What is the Universal Society of Hinduism, you ask? Hard to say, as its website is currently down, and no posts have ever been published on its blog, but its Nevada-based president, Rajan Zed, keeps a very active website that describes the USH as a “nondenominational religious-philosophical-cultural-educational organization [that] aims at reaching about one billion Hindus spread around the world.” One of the most recent press releases on Zed’s site is titled “Upset Hindus urge withdrawal of goddess Kali mural from Brooklyn Museum.”
It may be a stretch to say that portraiture is in the air — given that there are all of two exhibitions devoted to it in New York City right now, one in Manhattan and one in Brooklyn — but their confluence can feel like the kind of Marxian (Groucho, not Karl) charge you get from watching a tradition-bound idiom seize up and explode.
How to Become Queerly Mentored
[vimeo 68636748 w=748 h=421]What is Queer/Art/Mentorship? from Ira Sachs on Vimeo
CHICAGO — While…
SAN FRANCISCO — What would a “Revolution Grrrl Style Now!” look like now, some 20 years after the punk Riot Grrrl movement blasted onto the cultural landscape? How can one do justice to both the creativity and the complications of the many artists, activists, and regular girls who made the zines, played in the bands, took back the night, and otherwise raged against the misogyny and violence endemic to capitalist American culture? Co-curators Astria Suparak and Ceci Moss take up these questions with their touring showAlien She, now on view at Yerba Buena Center for the Arts (YBCA). As the “first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today,”Alien She attempts the difficult task of memorializing a movement while also making a case for its continued relevance to women and the arts. Although visually enticing, the show dilutes the political potency of and contradictions within Riot Grrrl — perhaps inevitable once a movement has been divorced from its living, breathing, countercultural context and is mounted on gallery walls.
A Bookmobile Becomes a Book

Screenshot from the Bookmobile Book project Kickstarter video
Remember the thrill of finding the library bookmobile as a kid? I do. I rode my pink Schwinn bike through a suburban wonderland, dodging cars and small children to meet the mobile. Nowadays I associate those types of trucks with tacos, but the memory of wandering into the bookmobile to grab a hardcover and stuff it in my backpack after…
Radical embodiment is a disorienting double negative for people of color. The words “radical” and “embodiment” bump into one another as each aggressively attempts to proclaim singularity. Eventually they will fuse, producing the inevitable overlap of a racialized identity. To attempt to simply live collides with daily efforts to live wholly. As Melissa Harris-Perry has written, “One cannot stand up straight in a crooked room.” For persecuted bodies, oppression goes hand in hand with survival. Therefore, radicalism must exist beyond protest; life must thrive beyond political warfare. The ability to fantasize and imagine other worlds could bring about authentic living.
Empathy, Fantasy, and the Power of Protest: A Conversation with Chitra Ganesh
What is the scale of war? What can we know of it? Seeking revelation in the ways that war is curtailed, hidden, biased, and unfinished, Frames of War, a rigorous group show at the small but dauntlessly ambitious Bushwick non-profit Momenta Art, approaches state violence through the edges of recognition.
Transgressive Queer Art, Tinged with Nostalgia
The crowd for the Dirty Looks event at Participant Inc. (all photos via Dirty Looks NYC on Facebook)
‘Tomorrow Never Happens’ at the Samek Art Museum Envisions a Queered Future
‘Tomorrow Never Happens’ at the Samek Art Museum Envisions a Queered Future

Chitra Ganesh, “Pussy Riot,” 2015. Courtesy of Freese Family Collection.
“A map of the world that does not include Utopia is not worth even glancing at”
― Oscar WildeThe exhibition, Tomorrow Never Happens, explores queer futurity and the aesthetics of utopia. This group exhibition features work by contemporary artists Ugo Rondinone, Jordan Eagles, Deborah Kass, Harmony Hammond, Chitrah Ganesh, Z…




![How to Become Queerly Mentored
“[vimeo 68636748 w=748 h=421] What is Queer/Art/Mentorship? from Ira Sachs on Vimeo
CHICAGO — While…
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