Art, every month.
"Kutlug Ataman interviewed by Maria Walsh
I went back into nature and started taking care of animals and planting a lot of trees, which is a ritual I do every year; I plant 5,000 trees. Doing all this holistic work gave me the freedom to reset my mind. Suddenly you start thinking of new art projects.
Francis Frascina finds clear connections between the ‘critical correspondences’ that Bertolt Brecht drew between image and text in his wartime journals and the events unfolding in Gaza today
At Raven Row, Brecht’s image and text from 1941 made me think, again, of Theodor Adorno’s question posed in 1959: ‘What does working through the past mean?’, and his argument that ‘after Auschwitz’ there was a necessity, no matter how complicated, for postwar Germans to examine the Nazi era.
Mark Prince argues that, for all its swagger, postwar US modernist abstraction betrays the country’s perennial fear of the other, revealing the cultural protectionism at its heart
Consider the rich seam of postwar formalism in US art as cultural protectionism: a metaphor that allows some shades of the primary economic sense of that term, although this is a form of production more defined by what it withholds than what it offers."
