IF YOU HAVE EVER taken the stairs at what used to be the Whitney Museum of American Art Marcel Breuer’s Brutalist masterpiece on New York’s Upper East Side you have almost certainly encountered the work of Charles Simonds, though you may not have realized it. One of only two pieces in the Whitney’s collection that did not head downtown when the institution moved to the Meatpacking District in 2015 (the other being Nicole Eisenman’s Exploding Whitney Mural, 1995), Simonds’s permanent installation huddles unobtrusively above the stairwell’s only window. It is a miniature village, an apparently
Harold Innis consistently pointed to the recurrent historical pattern in which imperial centers control and exploit those who live on the margins of a political order. Innis warned that this dynamic would not disappear with the rise of mass democracy.
Harold Innis consistently pointed to the recurrent historical pattern in which imperial centers control and exploit those who live on the margins of a political order. Innis warned that this dynamic would not disappear with the rise of mass democracy.