François Jousselin (French, 1926-2009), Untitled, 1954. Oil On Canvas, 65 X 47 Cm.

Stephen Kenn & Simon Miller :: The Inheritance Armchair

Join Kameelah Janan Rasheed for a two-part workshop on close reading, in conjunction with her installation Kameelah Janan Rasheed: Are We Reading Closely?—on view November 11. In the first session, on November 19, Rasheed presents an artist lecture that gives a “close reading of close reading.” The second session, on December 17, expands the practice of close reading into a communal exercise as participants work together to dissect short texts, pieces of media, and current events. 

Each session is limited and registration is required. Registration is $25 for both sessions, or $15 for a single session. A Zoom link will be sent by email.

⁠Kameelah Janan Rasheed (American, born 1985). A Nourishing Page (detail), 2020. (Photo: Courtesy of the artist)

Celebrating the city’s birthday at the Central Market in Kirov (1981)

des, chicago 2013

Sometimes you forget other people are having bad days too, other people are crying in private, not everyone is as happy as they want you to think. When I’m upset I forget how normal it is and I think I’m alone in it.

Johannes Veldhuizen, The tree people, Korowai, 1986.

“Houses of Irian Jaya’s Kombai and Korowai people are built as high as 150 feet for a reason: to see the birds and the mountains and to keep sorcerers from climbing their stairs. Also, the Korowai live in treehouses because when there is a fight with another clan in the jungle clearing, the young, old and women can quickly escape. It’s also breezier that high up.” https://www.instagram.com/p/CMpvLVDgBW8/?igshid=1pojzq5alskb

It really felt like rediscovering the fragments. So, that’s my advice. Just write the fragment. Make that fragment as whole as you can, because, guess what? It’s going to open the door to another one, and another one, and another one.

Andre Dubus III, from “Silver,” Five Points (vol. 17, no 1, Winter 2015-2016)

Cy Twombly: Grey Paintings, Galerie Art in Progress, München, 1975

/ l’Altissimo /