Folks in Minneapolis can pick up free print copies of PUSH / PULL Issue 7 at Midway Contemporary Art – available now!
PUSH/PULL is an online journal sponsored by @culturepusher a platform for ideas and thoughts that are still in development. PUSH/PULL is a virtual venue that allows CP to present a variety of perspectives on civic engagement, social practice, and other issues that need attention.
Issue 7 focuses on artistic freedom and expanded notions of censorship, including conversations with Dread Scott, Svetlana Mintcheva of the National Coalition Against Censorship, and Srirak Plipat of Freemuse, an independent international organization advocating for and defending freedom of artistic expression.
UltraViolet Archive is a collection of endangered creative works including films, graphic novels, music, literature, visual and performing arts that were formerly banned, challenged, or partially censored. For Queens International 2018, the interactive collection and installation focuses on works on loan from the Queens Library that are set in or challenged in New York, or authored by New Yorkers.
PUSH / PULL Issue 7 was supported by Culture Push, Freemuse, Danish Arts Foundation, National Coalition Against Censorship and Queens Museum Assistant Curator, Sophia Marisa Lucas.
Free Copies are also available at Printed Matter on 11th Ave. and the Zabar Art Library at Hunter College.
“WELCOME TO THE DREGS OF THE YEAR, when all we want—or need, given the chaos of 2018—is something socially nourishing. And no, I’m not talking about Art Basel Miami Beach.
On Saturday December 8, an afternoon of overlapping talks, workshops, film screenings, and performances was brought together under the banner of “Access and Agency” at the Queens Museum in conjunction with “Queens International 2018,” the eighth edition of the truly local group show that spotlights a set of artists working in the most royal borough. This year, a lively intergenerational dialogue on abstraction, chance operations, and found objects emerges among luminaries such as Milford Graves, Jack Whitten, Liz Phillips, and newcomers such as KT Pe Benito, Emilio Martinez Poppe, and Ani Liu, while a new partnership with the Queens Library, entailing installations in select branches and programming, gives the exhibition more breathing room. Hence its title: “Volumes,” a nod to publications and capabilities.
The programming on Saturday began with a “Censorpedia edit-a-thon,” presented by Christina Freeman as part of her UltraViolet Archive, 2018, an installation that gathers partially censored and banned works. In the museum’s theater, Freeman also screened two films from the archive by Oscar Micheaux. Simultaneously, there were conversations about cultural erasure, including Aruna D’Souza speaking with QI 2018 artist Janet Henry and Linda Goode Bryant. And did I mention that Eileen Myles, Tracie Morris, and Thurston Moore, among others, were giving readings of their works? [. . .]”
— Lauren O’Neill-Butler
I’m excited to announce that I was selected as the first Culture Push Associated Artist
As an Associated Artist I am receiving support to guest edit the Culture Push Journal, PUSH / PULL.
Culture Push Associated Artists receive support for mid-process and established projects that are aligned with the mission and experimental vision of Culture Push. Associated Artists are individuals and projects that have established themselves within New York City, but can still benefit from collaboration with and assistance from our organization. Unlike the seedling-stage ideas of our Fellowship for Utopian Practice, our Associated Artists and their projects have already run through their first logistical stages and idea-testing, and are ready to be bolstered through fiscal, institutional, and creative support.
“Perhaps the most seductive (if not politically salient) works on offer involve two participatory projects. Christina Freeman’s UltraViolet Archive is one of them. The interactive installation features a library bookshelf of “Challenged, Banned, and Obliterated” books (some familiar and others unexpected); a round table with chairs; and a single computer for curious visitors looking to explore the digital archive. Emilio Martinez Poppe’s End Credits for the Places That Make Us, meanwhile, includes a monitor, keyboard, and mouse. Found on the second floor, with two additional sets elsewhere on the ground level, the screen asks visitors to reflect on and engage with notions of placemaking, community, and belonging with preloaded prompts.”