For the next iteration of the Annotations column, Grace Aneiza Ali reflects on her belief about curating as a space of listening through the form of titles, installations, public programs, the artist’s words, and exhibition catalogs.
For the next iteration of the Annotations column, mapenzi chibale nonó responds to Sylvia Wynter’s “‘No Humans Involved’: An open letter to my colleagues.”
For our next iteration of the Annotations column, Andrew Westover converses with Dr. Gautham Reddy, a Hindu scholar and Emory University’s South Asian Studies Librarian, about one of St. EOM’s sculptures.
For a New Year of Annotations, Egbert Vongmalaithong annotates the acorn bread written into Parable of the Sower, weaving in anecdotes and other references.
Kelsie Conley reiterates the writing on the walls at The Pilot Light, an experimental venue in Knoxville, Tennessee for the next iteration of the Annotations column.
In our next feature within the Annotations column, Noah Simblist and Pablo Guardiola go back and forth in extended dialogue about Guardiola’s work regarding Puerto Rico as an island and as a block of time.
In our debut feature of the new Annotations column, Ryan Christopher Clarke details the history of annotation in Black communities, coded language in vinyl engravings, and underground resistance found through techno and fugitive strategies of communication.
Burnaway is excited to announce a new column, ANNOTATIONS, which will include unique annotations created or contextualized by artists, writers, and cultural workers from the South and the Caribbean.
