Adobe's War on the Poor
for junior high magazine
Surprise! Capitalism and consumer culture are destroying creativity once again! But this time, Adobe and its “suite” of art and design apps is the culprit.
Adobe’s latest price increase has become yet another deterrent blurring the line between “career artist” and “struggling artist.” Our late-stage capitalist society tells us this should have been expected and “inflation” is part of a company’s obligation to its constituents i.e. make money no matter what. All the while, there is a complete disregard of how art has typically had a low barrier of entry, a perfect vehicle for anyone of any economic status to resist the status quo. Adobe’s subscription paywalls prove to be the antithesis of what art spaces — digital and physical — have historically represented. If poverty is the barrier to modern technology, then creativity and art become luxuries exclusively for the well-off. ⭢continue reading
graphics by Faye Orlove
Looking Back: Our Favorite Art Happenings of 2021
In collaboration with the BAR editorial team
Oh, 2021—the year we thought must certainly be better or different than the one prior. Though many of the things we had hoped would remain in 2020 did follow us into this year, there were moments of respite provided by the reopening of physical spaces for art. Here, members of our editorial team share favorite moments spent back inside museums, the joy of catching public art in our neighborhoods, and the artists whose gallery presentations stuck with us. ⭢continue reading
“Samantha Nye: My Heart’s in a Whirl,” installation view, Lizbeth and George Krupp Gallery, 2021. Photo © Museum of Fine Arts, Boston.
Resistant Currents at the Mills Gallery
The exhibition now on view at the Mills Gallery in Boston’s South End, “ResistantCurrents,” is an exceptional and intelligent presentation of migration, a heated discussion subject today in the western political climate. “Resistant Currents” takes on the challenge of allowing migrants to depict their personal experiences and asks the viewer to question their own definition of migration. Generally one would say that for humans, migration means moving from one country to another. Yet here we are pushed to ask what constitutes this country as a country? Borders? What constitutes a border, and how does its original geographical meaning translate so quickly into an emotional one? ⭢continue reading
Daniel Assayag's "Trespassers" // photo via Artistry Magazine
