The summer issue of X-TRA is here.
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Sarah Petersen offers her risk assessment in a review of Radical Presence: Black Performance in Contemporary Art at the Walker Art Center, the exhibition’s final stop. Fleshing out terms and accounting for the body, Petersen considers what’s at stake for curator Valerie Cassel Oliver and for the rest of us.
In Travis Diehl‘s review of Charles Gaines‘s Gridwork at the Hammer Museum, he riffs on the arbitrary, Coltrane’s “Love Supreme” and paradox across a group of works spanning from 1974 to 1989.
Frequent contributor Vanessa Place looks at The Getty Research Institute’s World War I: War of Images, Images of War in her a review titled Entre Chiens et Loups.
Another type of war imagery appears in Elaine McLemore‘s essay on photography and reenactment, looking at recent projects by Sally Mann and An My Lê.
Alison J Carr watches and reflects on the re-performance of four works by Yvonne Rainer at Raven Row in London.
X-TRA‘s web edition features Alexandra Grant‘s review of Unsettled Landscapes at Site Santa Fe. The first in a series of biennials at the institution, SITElines: New Perspectives on Art of the Americas claims the territory between Nunavut and Tierra del Fuego.