Reviews

Provocations / “Live Forever”: Rendering a History and Present of Photography in Kimberly Juanita Brown’s Mortevivium

“What is it about blackness in the public imaginary that has repeatedly aligned it with suffering?” asks Kimberly Juanita Brown in Mortevivum: Photography and the Politics of the Visual (51). Or, a related question, directed again to the…

By Anni A. Pullagura

Review of Annie Berke’s Their Own Best Creations: Women Writers in Postwar Television

By Maureen E. Ryan

“Forbidden Colors” (1988): Felix Gonzalez-Torres’ Remnants of Solidarity

By Jorge Sánchez Cruz

Beyond Escape: Empowerment and the Reclamation of History in Torsos in Rain

By shuang cai

The Alfond Inn: Rollins College’s Art-Hotel

By Teddy Duncan Jr.

Review of Michael Richardson’s Nonhuman Witnessing: War, Data, and Ecology After the End of the World

By Delia Byrnes

The Scotch Taped: Recent Poetry Without Philanthropy

By Juliana Spahr

Uncanny Juxtaposition / Finding Planets in Austin: On Works by Lubaina Himid and Hubbard / Birchler

By Jamin An

Get in Loser, We’re Going Theorizing: Review of Anna Kornbluh’s Immediacy Or, The Style of Too Late Capitalism

By Mitch R. Murray

Black Legacies Worldwide: On Sarah M. Quesada’s The African Heritage of Caribbean and Latinx Literature

By Ali Kulez

Uncanny Juxtapositions / Scores Will Void, Sentences Will Leave a Ladder: On Works by Renee Gladman and Tristan Koepke & Benny Olk

By Emily Gastineau

Review of Candice Lin’s The Animal Husband

By K Yin

Review of Danielle Mckinney: Quiet Storm

By Amber Jamilla Musser

Dorothée Munyaneza performs "Toi, moi, Tituba" dance.

Refracting the Bodies That History Struggles to See / Review of Dorothée Munyaneza’s Toi, moi, Tituba

By Fabien Maltais-Bayda

Sofia Samatar and Kate Zambreno’s Tone

By Charlie Hope-D’Anieri