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Shrine: An Exhibition that Honors Black Mothers
Review by Vina Nweke "The space is sacred and safe, and actively elevates the various Black m/others and womxn that find themselves amongst the art, making them part of the ritual and adoration that exhibition spotlights." |
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Deep Field Narration
Feature by Jessie Rommelt "In this new series, John Burt Sanders deliberately brings in moments and icons from the past and present — the atomic bomb, the iceberg, the galaxy, the forest. As curator Lexi Bishop puts it, 'It feels like in this body of work, it's about human excesses, but especially in relation to nature and its effects on the natural world.'" |
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PREVIOUSLY ON VIEW
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Eric Anthony Berdis in Conversation with Fred
Interview Eric: I have been thinking of ways to honor these other deaths that have happened… This show was one way of thinking about that, and pulling imagery. I did not want the exhibition just to be about death and dying, and these sad, really hyper-sad spaces. Fred: Almost like Day of the Dead, where it's a celebration in connection with the past and across time. |
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Symmetry of Standing in a Kitchen in Relation to a Witch in the 13th Century (camp songs)
Poetry by Andrew W. Allison "I value intimacy, which means, I’m not trying to trick you. Staring at the wall is my fuckstyle. My love language is I’m in my thirties." |
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You are Standing Here: Gallery Closed in Troy Hill
Feature by Erin Gordon "So how does a gallery stay open-yet-closed? As a current year-long exhibition and conceptual research project, Historic Site and the gallery itself are only intended to be experienced from the outside of the building and its storefront windows; immediately placing the viewer in the position of curious voyeur. This strange amount of distance pushes back against the typical proximity through which we mindfully view art, It also invites its audience to consider ideas of place and its deep historical roots through Gallery Closed’s exterior meditation on what it truly means to be a “historic site.” |
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Constellations of Carcerality in Upstate New York
Review by Shaheen Qureshi “Curator D’Amico juxtaposes three newly commissioned paintings by Scruggs — a 2021 artist-in-residence at Bunker Projects — with works by the famous 19th century painter to underscore the artists’ often opposing expressions of traditional landscape painting. The marked differences in style, gesture, and materiality between Scruggs and Church allow for a re-imagining of the pastoral, idyllic representations of rural spaces common in landscape paintings of the 19th century.” |
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Saturation Fatigue: A Return to Informatic Infancy
An essay in the Information, Intimacy & Immateriality series by Kira Bell “Selfhood can be understood to work like the application Google Maps— it uses so much power because it is constantly trying to assess where it (the individual) falls in relation to everything else (its community, work place, social circles).” |
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Help and Harm: Untangling Care from Violence A review of You were born good at make die by Sidney Mullis "To help understand their paternal intergenerational trauma, each artwork grapples with how intimacy, care, and nourishment can occur directly alongside violence." |
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Representation: Display and Displacement
An essay in the Information, Intimacy & Immateriality series by Kira Bell “Since the beginning of the 24-hr news cycle, media has infiltrated our experience both in and outside the home; information envelops us like an aspic, simultaneously transparent and grotesque.” |
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You Love the Camera and the Camera Loves You
A review of Lena Chen's Camopticon installation at the Miller ICA by Elina Zhang "As sex workers try to create the conditions under which they can survive, they are perceived as a threat, one that is met with the full force of censorship, violence, and incarceration." |
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Sense and Subjectability
An essay in the Information, Intimacy & Immateriality series by Kira Bell “[There is] a logical fallacy embedded in the structure of language: how can we pretend to exist in a perfectly shared reality when our ways of defining that reality are relative?” |
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Shades of History and Identity Studio Visit with Craft Fellowship Resident Krystal DiFronzo by Alana Wu "This dough has been a way to talk about nourishment… plant matter, to fire, to food. Dead dough is a code for support and comfort, but it’s dead. It’s not something you can actually eat; it’s a duality." |
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by Kira Bell
“At first glance, a romantic approach to science or a bureaucratic approach to art seem like oxymorons. In these essays, I want to question that assumption and propose instead that multiple forms of representation working in conjunction are necessary to account for multiple forms of understanding — each no less important than another.”
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post mourning: clarity
The Latest in the Hand-Off Series by Corrine Jasmin "we can’t be foolish enough to count on forever you see, forever is a concept pinky promises are for kids but isn’t it a little fun to be naive sometimes?" |
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Extrasensory in 35mm
An editorial on Eastern Standard Photo and the future of the Bunker Review by The Editors "I think that it's about showing people that film can have a place in somebody's life, even if it's just to have a pandemic activity. Anybody can go for a walk in the woods by themselves and take pictures. It's a perfect activity." |
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Bunker Talks: Shori Sims in Conversation with Harrison Kinnane Smith
In her essay "In some far off place, I'll wait for you" Cybernature and the Preservation of Space , published in the Bunker Review's Hand-Off series, Sims advocates Black cyber-feminism in the face of late-stage capitalism's disregard of nature. Sims positions nature a historical place of respite and communion for the oppressed, and presents "cybernature" as a the new frontier in anti-capitalist, communal freedom. Watch the virtual conversation with Sims about her essay and how she addresses these themes in her art. |
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Radial Lineage, Pittsburgh Roots
A feature on Silver Eye Center for Photography's "Radial Survey Vol. 2" by Nick Drain "...the artist transports viewers down into the tunnels with these men, where the dust that clouds the air serves as both a specter of the history it represents, and a representation of the continued obfuscation of the history depicted." |
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Alienation, Connection, Hope Within and Beyond Prison Walls
A review of the Brew House Association's exhibition, "Empathy is the Seed, Truth is the Water, Solidarity is the Bloomage" by Sarah Shotland "The curation of the show puts the pieces in dialogue with each other, challenging viewers to make connections between the artists whose work was created in prison, and those whose work was created as an act of solidarity." |
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At The Door: Placemaking and Memory at The Mattress Factory
"Njie conserves the emotion of an event in the auditory and visual matter, in an attempt to salvage it from the obscuring flow of time and from human inattention." |
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Frenetic Labor of Love
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