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“Head of Colossus,” a photograph by Sally Gall, whose work is on view through July 18 at Winston Wächter Fine Art, New York City. Courtesy the artist and Winston Wächter Fine Art
Forever, a painting by Kate Gottgens, whose work is on view through September 13 at Huxley-Parlour, Swallow Street, London © Kate Gottgens. Courtesy Huxley-Parlour
A photograph by Henry O. Head, from his book Twelve Acres, which was published this month by Twin Palms Publishers. Courtesy the artist and Twin Palms Publishers
Anacaona (destroy the beauty that has injured me), a painting by Firelei Báez, whose work is on view through September 21 as part of the exhibition Black Earth Rising at the Baltimore Museum of Art. The accompanying catalog, Black Earth Rising: Colonialism and Climate Change in Contemporary Art, was published by Thames & Hudson. © Firelei Báez. Courtesy the artist and Hauser & Wirth
“Platte River (1910),” a photograph by Lora Webb Nichols from her book Heap-O-Livin’, which was published in June by Fw:Books. Courtesy Fw:Books
“Head of Colossus,” a photograph by Sally Gall, whose work is on view through July 18 at Winston Wächter Fine Art, New York City. Courtesy the artist and Winston Wächter Fine Art
Forever, a painting by Kate Gottgens, whose work is on view through September 13 at Huxley-Parlour, Swallow Street, London © Kate Gottgens. Courtesy Huxley-Parlour
A photograph by Henry O. Head, from his book Twelve Acres, which was published this month by Twin Palms Publishers. Courtesy the artist and Twin Palms Publishers
Anacaona (destroy the beauty that has injured me), a painting by Firelei Báez, whose work is on view through September 21 as part of the exhibition Black Earth Rising at the Baltimore Museum of Art. The accompanying catalog, Black Earth Rising: Colonialism and Climate Change in Contemporary Art, was published by Thames & Hudson. © Firelei Báez. Courtesy the artist and Hauser & Wirth
“Platte River (1910),” a photograph by Lora Webb Nichols from her book Heap-O-Livin’, which was published in June by Fw:Books. Courtesy Fw:Books
“Head of Colossus,” a photograph by Sally Gall, whose work is on view through July 18 at Winston Wächter Fine Art, New York City. Courtesy the artist and Winston Wächter Fine Art
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“The conservative Christian love of Israel that I will encounter, over and over again, seems bound up in a notion of God the Father, who has two children: Israel and the United States. This Israel — not a nation but a wayward brother — lies beyond history, beyond the deaths and wars that made it, beyond the United Nations, beyond the Oslo Accords, beyond any conventional morality.”
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