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Fire Ecology is a three-year, multi-part project that spans public programs, publishing, and archival initiatives. It adopts the metaphor of Fire Ecology—the practice of maintain ecosystem health by using controlled fires to burn old growth, thereby fertilizing the soil, and clearing space for new growth to thrive.

“What I’m especially excited to share in my own practice is a process of mutation, translation, and mediation. And so, what we’re really doing is tracing a trajectory of lines on—in this case, paper—but let’s say just a wall. I take those drawings, tear them into 3-D objects, then combine and recombine them into immersive 3-D sculpture.”

“The act of binging is one of abjection. It demonstrates the power of something inanimate, or no longer animate, over human beings—in this case, food. The abject manifests viscerally as squirming, belching, or vomiting. Such images threaten the common belief that eating is pleasurable, a notion that begins in infancy.”

Film critic Nathan Lee explores the insurrectional body in David Cronenberg’s “Crimes of the Future” and asks “What do we mean when we speak of the ‘Cronenbergian’?”

Haldeman’s paintings capture the way quotidian images inform how we fashion ourselves, how we move about the world. They ask, “How do we wear ourselves into becoming ourselves? And what do things, such as inanimate objects and advertisements, demand from us?

It’s electric, jumping from each artist’s work, between the various materials and representations, yet they unite in their futurity to prompt questions: What will remain of us, and what transcends understanding?

It’s all very Videodrome. That body horror manifests in phone-breath-bed 3 (2023), a sculpture presented in its own small room. A silicone face emerges out of a Perspex panel, where, lower down, a silicone slab forms a womblike concave depression. The panel hovers over the form of a hospital bed with the support of gray plastic piping, whose mattress is a screen-skin painting with creased dermal folds framing silicone protrusions that swell from the flatness.

Each collaborative entity mobilizes its own kind of micro-performance, but together they maintain a coherence through the way we simultaneously apprehend them in the sensorium. As such, the materials feel less instrumentalized by aesthetics and more mysterious.

Tracking the legacy of architect Paul R. Williams, a photographer finds Las Vegas’ modernist sanctuaries.

The history of architecture and sufficiency suggests a porosity in the rigid distinctions that have characterized the field’s erstwhile attentions, which so often focus upon heroic figures engaged in the development of progressive design techniques. It turns instead to a chronologically heterogeneous array of climate and solar design strategies—regionally specific and culturally conditioned—that have emerged over a much longer period, and with less attention to formalist pedigrees, to consider design methods for life after fossil fuels.

Gabriel Cira reveals how confounding façades can also reinforce the dominant narrative by masking economic differences to favor a mirage of homogeneity. Photos by Pat Falco.

Artists and educators Mark Dion, Pam Longobardi, and Mike McFalls discuss their collaborative work with Georgia State University and Columbus State University students on ecology, history, and site-responsive public art projects.

At the Brooklyn Museum, then at Spelman College in Atlanta, an exhibition reveals a practice about memory, place, and endurance, honed across manifold divides.

In April 2018, as interviews with Sherald and features about her continued to stream across headlines, former ART PAPERS Editor and Artistic Director Victoria Camblin spoke with the artist about living and working in not-New York, the power of being mainstream, and how making art is a damn job.