Kyle Thomas Hemingway: The ephemera edit
An ongoing digital archive of 1,390 items (and counting) proving that I read, I saw, and I actually paid attention.
Collection
Contemporary art
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Deborah Roberts, Ulysses, 2019 Olga de Amaral, Bruma W, 2018 (foreground); Paul Mpagi Sepuya, Mirror Study (0X5A7431), 2018 (background left); Njideka Akunyili Crosby, Facets: Screen Wall, 2016 (background right) Sarah Sze, Surround Sound (After Studio), 2019 -
Lucy Raven, Murderers Bar, 2025 
Lucy Raven, Murderers Bar, 2025 
Lucy Raven, Hardpan, 2025 -
Jeremy Holmes, Untitled (walnut with gray) -
“Make people think again. We may believe that we’re at the pinnacle of awareness, civilization, and knowledge. We are, in fact, in the Dark Ages. Nobody is thinking for themselves. That’s why we need institutions to provide education, to offer a forum where things are open and where we can listen to alternative voices. Make people think again. It’s a simple thing. But think again.” (Alain Servais)
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“Of course, the larger context for such visual saturation lies beyond exhibition culture. The pressure placed upon the human capacity to digest information is an inevitable outcome of the attention economy, in which businesses compete for consumers’ consideration, as measured by clicks on pop-ups, sponsored posts, personalized offers, etc. In this marketplace, the supply of information isn’t lacking; what’s scarce is the limited reserve of human attention.”
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Andy Warhol, The Last Supper, 1986 (wall); Felix Gonzalez-Torres, “Untitled” (Placebo), 1991 (floor) 
Richard Serra, Equal, 2015 
David Wojnarowicz, Wind (for Peter Hujar), 1987 
Vincent van Gogh, The Starry Night, 1889 -
Derrick Adams, Hood Rats, 2000 -
Narcissister, (clockwise from top left) Untitled Self-Portrait Series (Pink Nails), 2012; Untitled Self-Portrait Series (Cracked Mask), 2012; Untitled Self-Portrait Series (Gold Earrings), 2012; Untitled Self-Portrait Series (Checkered Shirt), 2012 
Mary Reid Kelley and Patrick Kelley, Stills from The Rape of Europa, 2025 
David Wojnarowicz, Arthur Rimbaud in New York, 1978-79/2004 
Yinka Shonibare, Dorian Gray, 2002 -
Cy Twombly, Fifty Days at Iliam, 1978 
Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-1923 
Marcel Duchamp, Étant donnés: 1° la chute d’eau, 2° le gaz d’éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ), 1946-1966 
Augustus Saint-Gaudens, Diana, 1922 -
Installation view, Nexus -
Overhead view of the exhibitors -
Allan Rohan Crite, Streetcar Madonna, 1946 
In his home, Crite installed art densely and usually without labels, not unlike the Palace of the Isabella Stewart Gardner Museum 
Allan Rohan Crite (top to bottom), Our Lady of the R. R. [Railroad] Station, 1953; The Tax Announcements (Old State House), 1954 -
Anna Tsouhlarakis, IF SHE WAS AT THE PARTY, SHE WOULD HAVE DUMPED MORE THAN TEA, 2025 -
“For Blue there are no boundaries or solutions.”
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Installation view, Edge of the Garden -
“It’s just a real gentle moment. I’m here by myself and I don’t mind. I kind of wish it could just stay like this for maybe a few years, or I just never moved out of this spot. I could just watch the light stay like this. And maybe somebody coming along and just putting their arms around me for a few minutes.”
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“Most art will disappear. The past is edited so it always looks clearer to us. Today always looks a bit of a jumble. We’ll put up with rubbish from now, but not with rubbish from the past.”
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Sara Cwynar, Alphabet, 2025 -
John Wilson, Study for the Young Americans, 1973 -
Installation view, Waters of the Abyss
