MUSÉE 29 – EVOLUTION
Evolution explores the concepts of progress, transformation, growth, and advancement in an age when images are taking a dramatic shift in the role they play in our lives.
All in From Our Archives
We are still condemning the art world for its lack of ethics, tokenism, and other bad behavior.
I believe a certain form of ignorance can be empowering. Not knowing can be a motor for curiosity and in turn, fuel creativity.
I realized two important things: that I feel uneasy when I intrude upon people and how important the physical spaces in which people meet are to me.
In honor of the opening of Vince Aletti’s show The Drawer at White Columns this week, we’re sharing his guest curation from Musée Issue No. 24 — Identity.
Simpson’s work culls from our shared history, echoing themes and power dynamics within gender, race and culture and how these elements combine in our manifestation of memories and creating identity.
"I’m not a savior. I’m just me, and I’m just doing my thing."
I was always aware of my plight and displacement. I am from an area known as “the bottom.”
To celebrate Women’s History Month, we are sharing articles from Musée No. 13 — Women.
Meatyard “was a picture maker, not a picture taker.” To the veil of appearance, he brings more veils. Behind his masks, there is always another mask – or nothing at all.
“Interiors are an inexhaustible resource; there are still so many places I want to see.”
“Authenticity means something very different for me than it might to you or someone else.”
“I’ve been collecting for over twenty five years. The medium is changing so rapidly, that’s one of the reasons I started collecting photography. This is the medium of our lifetime. It’s wild to live in the era of this photographic revolution.”
“My process is playful. There is no clear plan or story I am trying to tell. I manipulate photographs which evoke a familiar feeling — something I have a deep connection to.”
I always think my work is very clear. It’s clear to me, apparently maybe not so clear to the viewer, and that always puzzles me...because I think I’m very clear. But, is the point to be clear at all?
“What I was struck with was the power and poetic nature of having last words at all…which if you think about it, is a very rare opportunity for any human being to have.”
“I tend to think cinematically, particularly when sequencing images – meaning I’d like to think I know how to tell a story in purely visual terms. Using cinematic vocabulary – such as wide shots, medium shots and close ups – that syntax helps people understand where they are and what’s going on.”
