Elizabeth Magie was inspired by her passion for the anti-monopolist economic theories of politician Henry George, and her desire to teach them to others in a simple, compelling way led her to develop The Landlord’s Game.
On playtime.pem.org the Peabody Essex Museum (PEM) explores “how is play changing our lives?” with leading writers, thinkers, game designers, poets, artists— and you. Discover new writing on games and society, hear artists talk about what play means to them and see our curators in action as we prepare to open, PlayTime, the first major thematic exhibition to explore the role of play in contemporary art and culture.
NEXT supermoon arrives January 1, 2018... January 2018 brings full Moons—both supermoons! The first is the night of January 1—on New Year’s. This is the biggest supermoon of the year, aligning nearest to perigee—the Moon’s closest point to Earth in its monthly orbit. (January 31 is the second full Moon—also a Blue Moon!) via
The history of a single monument is writ large in Pettengill's new short film, Graven Image, produced by Field of Vision and premiered on The Atlantic Dec. 1.
THIS is how I will spend my free time all winter... BOOM BOOM
Eye Fruit: The Art of Franklin Williams at the Art Museum of Sonoma County
Installation view of Eye Fruit: The Art of Franklin Williams at the Art Museum of Sonoma CountyMay 13–September 3 Franklin Williams had been one of the more arcane examples of unclassifiable Bay Area artists from the late 20th century. In 2017, Eye Fruit changed all that. This show offered the first and, thus far, the only retrospective on Williams’s massive career, introducing the art world at large to a formidable talent whose work is the very distillation of authentic self-expression. It’s no wonder that Williams’s art has since shown in LA at the Parker Gallery, is currently on display through December 22 in New York City at Karma Gallery, and will be exhibited at the Whitney Museum of American Art in the near future. Eye Fruit alone, however, deftly showed what was in store for art viewers as others take on the task of comprehensively examining the inimitable, mystical, and fascinating art of Franklin Williams. —Clayton Schuster
(image courtesy Reed College)August 11–October 1 Nothing is Natural was organized at Reed College by Indigenous artist Demian DinéYazhi’, curator and Director of Cooley Art Gallery Stephanie Snyder, and Indigenous arts collective R.I.S.E. (Radical Indigenous Survivance and Empowerment). The exhibition, which was part of Converge 45 in Portland, Oregon, featured two installation works, one along the banks of tributary in Reed Canyon, and one in the historic Student Union. The outdoor installation, created by art collective Winter Count, titled “Nothing is Natural,” is an incredibly poignant work, redressing the notion of violence against the natural world, violence against women, and violence against Indigenous bodies. A work by Postcommodity, “Gallup Motel Butchering,” illuminated the contested nature of the landscape of Gallup, New Mexico as a commodified space — realities that tourism and the remnants of old Route 66 still present there — and that its identity as an Indigenous territory is often ghettoized. —Erin Joyce