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Paper Monument

Do The Divisions Between Artist, Writer and Activist Matter Post-Election?

by Emily Colucci on December 9, 2016
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What is an artist’s role in activism? A panel at e-flux on Tuesday night explored the question many in the arts community have been wondering since Trump’s election a month ago.

The panel What Now: The Artist-Writer As Activist-Critic not only considered artist writing as a form of sociopolitical and institutional critique, but it also took a more expansive look at the intersection of art and activism. And this focus struck a nerve. Even on a rainy and miserable evening, the event space at e-flux was filled to capacity with over 70 people searching for a way forward in the forthcoming Trump administration.

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Raphael Rubinstein’s “The Miraculous”: On the Art of Futility

by Whitney Kimball on November 3, 2014
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Paper Monument’s latest, “The Miraculous” by Raphael Rubinstein, leads to the question– What’s the point of art?

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This Week’s Must-See Art Events: Every Nerd Loves a Book Fair

by Matthew Leifheit Gabriela Vainsencher and Whitney Kimball on September 16, 2013
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Get ready for a little soul-cleansing before fair season. This week’s openings highlight the act of drawing, the highs of New York culture, and females in the Internet. A Rockaways beach house turns pop-up art space, and Paper Monument finally releases Issue Four.

But mostly, the Art Book Fair returns!

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A Day for Detroit in Review

by Ian Marshall on August 15, 2013
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We owe it to Tyler Green of Modern Art Notes for spearheading “A Day for Detroit” and provoking a veritable downpour of tweets and blog posts. Green urged fellow art bloggers to post their favorite works from the Detroit Institute of Arts and tweet with the hashtage #DayDetroit to raise awareness for the museum’s collection. Given the volume of activity, we spent the better part of our day summarizing what happened.

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Times Critic Caught in This Week’s Witch Hunt

by The AFC Staff on November 27, 2012
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“Black artists didn’t invent assemblage.” That statement, and others like it, written by The New York Times art critic Ken Johnson, has provoked the ire of fellow critics, artists, and Times readers alike. His remarks about two recent exhibitions, Now Dig This! Art & Black Los Angeles 1960-1980 and The Female Gaze: Women Artists Making Their World have exploded into a tirade across Facebook—with complaints lodged by Kara Walker and Jerry Saltz among others—and now, an anonymous group has gone so far as to petition the Times to “acknowledge and address this editorial lapse and the broader issues raised by these texts.” So, what are these broader issues, and problems, if any?

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