“Grief and Grievance: Art and Mourning in America”
              Ladi’Sasha Jones
              Ella Sheppard Moore’s father bought her freedom from enslavement as a child; as the lead arranger and composer of the Fisk Jubilee Singers, she grew up to establish Negro spirituals (or plantation songs) in the landscape of American popular culture. Listening to a 1909 recording of “Swing Low, Sweet Chariot,” which happens to be my favorite spiritual, I hear a haunting ringing out as the four members sing the phrase “coming for to carry me home”—taking a hold of the word “home,” stretching it, and drawing it out over a run of four notes wherein the register lowers twice as the chorus loops back around. What is utterly magnificent about this rendition of the song, which differs greatly from the version I grew up listening to and singing, is that it conveys a deeper, reifying story of radical refusal, stirring the condition that emerges from living in pursuit of freedom from the imagination of white terror. This kind of living is marked in the formations of early Black American music, wherein songs are in part prayers and prophetic visioning. They are spiritual speech acts that map pathways for new possibilities, self-possessed futurities. Okwui Enwezor wrote that the social space …
              New York City Roundup
              Orit Gat
              As I missed out on international art events this season because New York is so far away, all I could think of was how unlucky their curators are. You work on Venice or Documenta for a year or two or four. You start out researching when there’s a somewhat liberal president in the US and some island off the coast of Europe still considers itself part of the union. Though the war in Syria, the refugee crisis, and economic instability in the EU were already present, there’s still a feeling that this past year has served too many blows. And those large-scale exhibitions, years in the making, all opened to a great unknown. On Instagram, almost all the photos I see from Venice are of the same works, and I wonder how and if they respond to the current situation, whether there is a way for art not to seem detached. In New York, few of the exhibitions currently on view in commercial galleries and museums focus directly on contemporary politics. At Metro Pictures, Robert Longo’s show, “The Destroyer Cycle,” does just that. It’s comprised of large-scale charcoal-and-graphite drawings of riot cops in full gear, prisoners being led to a CIA …

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