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RECOMMENDED READING FEATURES recently published content from around the web, recommendations from Culture Type worth taking the time to explore:


“The Hole Truth” by Raphael Rubinstein | Art in America
Howardena Pindell has pursued a number of avenues in her work, but it is her fields of color punctuated with layered scatterings of tiny circles from a hole punch that are instantly recognizable (above). For Art in America magazine, Raphael Rubinstein reflects on her practice since the 1970s. He considers “Howardena Pindell: Paintings, 1974-1980,” her exhibition earlier this year at Garth Greenan Gallery in New York, for which a fully illustrated catalog was published (available now by calling the gallery directly, forthcoming elsewhere in December), her first in more than two decades. Rubenstein further examines her tools and methods and the factors that signaled fundamental shifts in her work in 1979. “Of all the artists experimenting with unevenly textured surfaces, perhaps no one did so with such nuance and intensity as Howardena Pindell,” he says.

“Of all the artists experimenting with unevenly textured surfaces, perhaps no one did so with such nuance and intensity as Howardena Pindell.”
— Raphael Rubinstein, Art in America

“Conversation: Isaac Julien” by Anna Dickie | Ocula Magazine
British artist and filmmaker Isaac Julien recently presented his 2010 film “Ten Thousand Waves” to art students in Singapore. The event was part the Centre for Contemporary Art Singapore’s programming for an exhibition exploring how theatricality is employed in film, video and performance that included screenings of two additional Julien films. For the Hong Kong-based Ocula, Anna Dickie talks with Julien about his interactions in Singapore, the fact that he first studied painting and how the medium figures in his films, and his recent book “Isaac Julien: Riot.” An “intellectual biography” the title references the 1981 riots in East London. Julien dug into his archive in order to reflect on his life and work and the world around him for the book, an exercise that may inspire an exhibition. “In a way that project was like a retrospective, but in the form of a printed publication,” he says.

The riots in East London “had such strong political ramifications and they also catalysed artistically minded people to get together and react.”
— Isaac Julien, Ocula

“Story/Time: Bill T. Jones on John Cage” by John R. Killacky | The Green Room
Known for his groundbreaking collaborations with artists in other disciplines, Bill T. Jones made a name for himself choreographing works that no one had ever seen before. Aesthetically beautiful and politically hard charging, his company’s performances have addressed race, history, homosexuality and terminal illness. For the Walker Art Center’s The Green Room blog, John R. Killacky interviews Jones about his new book “Story/Time: The Life of an Idea,” which documents the development of a dance (a “meditation” on composer John Cage’s 1958 work “Indeterminacy” in which he reads 90 one-miinute stories) co-commissioned by the Walker where it was performed in 2012. The choreographer offers engaging details about the book, the performance “Story/Time” which his company has incorporated into its touring repertoire, and upcoming projects that mine the experiences of his extended family. CT


TOP IMAGE: Howardena Pindell, “Carnival at Ostende,” 1977 (mixed media on canvas). | Courtesy the artist and Garth Greenan Gallery, New York


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