There is an age-old notion of the artist’s practice as a solitary one in which creativity is born over the course of long hours in the studio. Barring a nomadic or collaborative practice, there is truth to this romantic vision—artists do often work alone—yet there is a constant companion inherent in the creative process: the studio itself. The International Studio & Curatorial Program (ISCP) has filled this role for over two-thousand artists and curators from more than ninety countries over the last thirty years.
As part of their “True Mirror” project for the 2008 Whitney Biennial, Dexter Sinister has set up a mirror press office at the Commander’s Room of the 7th…
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It’s funny to be reviewing a book about artists and motherhood when you are homeschooling: kind of like seeing an Instagram post of a party you are already at. “Gosh, that looks like a fun place to be,” you think. “Better than this vortex.”
Why Call It Labor? On Motherhood and Art Work, published by the Arab funding organisation Mophradat and edited by its director, Mai Abu ElDahab, presents motherhood as vastly more complicated than a “fun place to be”. Contributions by artists and curators such as Mary Jirmanus Saba, Basma Alsharif, Lara Khaldi, Nikki Columbus and Mirene Arsanios sketch out the structural problems facing mothers in the cultural arena. The labour in the book’s title is a handy double