{"id":151517,"date":"2021-03-19T09:00:55","date_gmt":"2021-03-19T13:00:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=151517"},"modified":"2021-03-19T11:15:34","modified_gmt":"2021-03-19T15:15:34","slug":"blueprints-for-another-world","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/","title":{"rendered":"Blueprints for Another World"},"content":{"rendered":"<p><em>Julie Mehretu frequently has been hailed as an heir to Jackson Pollock. But where many of Pollock\u2019s paintings seem divorced from real-world antecedents, Mehretu blends abstraction and representation in open response to current events: the Arab Spring, deadly wildfires on the West Coast of the United States, the burning of Rohingya villages in Myanmar, the police killing of Michael Brown in Ferguson, Missouri. Some of her paintings and works on paper look like warped views of cities from above; others resemble blueprints for another world. Always, though, amid the layers and layers of symbols, shapes, vectors, and lines, one can see Mehretu\u2019s architectural precision and control. <a href=\"https:\/\/whitney.org\/exhibitions\/julie-mehretu\" target=\"_blank\" rel=\"noopener noreferrer\">An exhibition showcasing more than twenty years of her work<\/a> will open at the Whitney Museum of American Art on March 25 and run through August 8. A selection of images from the show appears below.<\/em><\/p>\n<div id=\"attachment_151524\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-151524\" class=\"size-full wp-image-151524\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg\" alt=\"\" width=\"1000\" height=\"625\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066-300x188.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066-768x480.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-151524\" class=\"wp-caption-text\">Julie Mehretu, <em>Black City<\/em>, 2007, ink and acrylic on canvas, 120 x 192&#8243;. Pinault Collection, Paris, France. \u00a9 Julie Mehretu.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_151526\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/untitled-2-1999.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-151526\" class=\"size-full wp-image-151526\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/untitled-2-1999.jpg\" alt=\"\" width=\"1000\" height=\"830\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/untitled-2-1999.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/untitled-2-1999-300x249.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/untitled-2-1999-768x637.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-151526\" class=\"wp-caption-text\">Julie Mehretu, <em>Untitled 2<\/em>, 1999, ink and polymer on canvas mounted to board, 59 3\/4 \u00d7 71 3\/4&#8243;. Private collection, courtesy of White Cube. \u00a9 Julie Mehretu.<\/p><\/div>\n<p><!--more--><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_151527\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/migration-direction-map-large-1996.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-151527\" class=\"size-full wp-image-151527\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/migration-direction-map-large-1996.jpg\" alt=\"\" width=\"1000\" height=\"1477\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/migration-direction-map-large-1996.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/migration-direction-map-large-1996-203x300.jpg 203w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/migration-direction-map-large-1996-768x1134.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/migration-direction-map-large-1996-693x1024.jpg 693w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-151527\" class=\"wp-caption-text\">Julie Mehretu, <em>Migration Direction Map (large)<\/em>, 1996, ink on mylar, 22 x 15&#8243;. Private collection. \u00a9 Julie Mehretu.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_151534\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0051_conjured_new_photo_cathy_carver.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-151534\" class=\"size-full wp-image-151534\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0051_conjured_new_photo_cathy_carver.jpg\" alt=\"\" width=\"1000\" height=\"874\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0051_conjured_new_photo_cathy_carver.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0051_conjured_new_photo_cathy_carver-300x262.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0051_conjured_new_photo_cathy_carver-768x671.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-151534\" class=\"wp-caption-text\">Julie Mehretu, <em>Conjured Parts (eye), Ferguson<\/em>, 2016, ink and acrylic on canvas, 84 x 96&#8243;. The Broad Art Foundation, Los Angeles. \u00a9 Julie Mehretu.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_151530\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mind-wind-field-drawings.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-151530\" class=\"size-full wp-image-151530\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mind-wind-field-drawings.jpg\" alt=\"\" width=\"1000\" height=\"651\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mind-wind-field-drawings.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mind-wind-field-drawings-300x195.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mind-wind-field-drawings-768x500.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-151530\" class=\"wp-caption-text\">Julie Mehretu, <em>Mind-Wind Field Drawings (quarantine studio, d.h.) #1<\/em>, 2019\u20132020, ink and acrylic on paper, 26 x 40&#8243;. Private collection, courtesy Marian Goodman Gallery New York\/Paris. \u00a9 Julie Mehretu.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_151529\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0090-hineni-new-photo-tom-powel-imaging.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-151529\" class=\"size-full wp-image-151529\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0090-hineni-new-photo-tom-powel-imaging.jpg\" alt=\"\" width=\"1000\" height=\"798\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0090-hineni-new-photo-tom-powel-imaging.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0090-hineni-new-photo-tom-powel-imaging-300x239.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/e.2020.0090-hineni-new-photo-tom-powel-imaging-768x613.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-151529\" class=\"wp-caption-text\">Julie Mehretu, <em>Hineni (E. 3:4)<\/em>, 2018, ink and acrylic on canvas, 96 \u00d7 120&#8243;. Centre Pompidou, Paris, Mus\u00e9e national d\u2019art moderne\/Centre de cr\u00e9ation industrielle; gift of George Economou, 2019. \u00a9 Julie Mehretu.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_151528\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_retopistics_e.2020.0055.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-151528\" class=\"size-full wp-image-151528\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_retopistics_e.2020.0055.jpg\" alt=\"\" width=\"1000\" height=\"484\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_retopistics_e.2020.0055.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_retopistics_e.2020.0055-300x145.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_retopistics_e.2020.0055-768x372.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-151528\" class=\"wp-caption-text\">Julie Mehretu, <em>Retopistics: A Renegade Excavation<\/em>, 2001, ink and acrylic on canvas, 101 1\/2 \u00d7 208 1\/2&#8243;. Crystal Bridges Museum of American Art, Bentonville, Arkansas 2013.28. \u00a9 Julie Mehretu.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_151532\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mogamma_e.2020.0060.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-151532\" class=\"wp-image-151532 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mogamma_e.2020.0060.jpg\" alt=\"\" width=\"1000\" height=\"1247\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mogamma_e.2020.0060.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mogamma_e.2020.0060-241x300.jpg 241w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mogamma_e.2020.0060-768x958.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_mogamma_e.2020.0060-821x1024.jpg 821w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-151532\" class=\"wp-caption-text\">Julie Mehretu, <em>Mogamma (A Painting in Four Parts) (1 of 4)<\/em>, 2012, ink and acrylic on canvas, 180 \u00d7 144&#8243;. Guggenheim Abu Dhabi. \u00a9 Julie Mehretu.<\/p><\/div>\n<p>&nbsp;<\/p>\n<p><em>\u201c<a href=\"https:\/\/whitney.org\/exhibitions\/julie-mehretu\" target=\"_blank\" rel=\"noopener noreferrer\">Julie Mehretu<\/a>\u201d will open at the Whitney Museum of American Art on March 25 and run through August 8.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A new exhibition at the Whitney Museum of American Art showcases more than two decades of Julie Mehretu\u2019s paintings and works on paper.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[67827],"class_list":["post-151517","post","type-post","status-publish","format-standard","hentry","category-look","tag-featured"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Blueprints for Another World by The Paris Review<\/title>\n<meta name=\"description\" content=\"A new exhibition at the Whitney Museum of American Art showcases more than two decades of Julie Mehretu\u2019s paintings and works on paper.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Blueprints for Another World by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"March 19, 2021 \u2013 A new exhibition at the Whitney Museum of American Art showcases more than two decades of Julie Mehretu\u2019s paintings and works on paper.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2021-03-19T13:00:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-03-19T15:15:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"625\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Blueprints for Another World\",\"datePublished\":\"2021-03-19T13:00:55+00:00\",\"dateModified\":\"2021-03-19T15:15:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/\"},\"wordCount\":391,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg\",\"keywords\":[\"Featured\"],\"articleSection\":[\"Look\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/\",\"name\":\"Blueprints for Another World by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg\",\"datePublished\":\"2021-03-19T13:00:55+00:00\",\"dateModified\":\"2021-03-19T15:15:34+00:00\",\"description\":\"A new exhibition at the Whitney Museum of American Art showcases more than two decades of Julie Mehretu\u2019s paintings and works on paper.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Blueprints for Another World\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\",\"name\":\"The Paris Review\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"caption\":\"The Paris Review\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Blueprints for Another World by The Paris Review","description":"A new exhibition at the Whitney Museum of American Art showcases more than two decades of Julie Mehretu\u2019s paintings and works on paper.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/","og_locale":"en_US","og_type":"article","og_title":"Blueprints for Another World by The Paris Review","og_description":"March 19, 2021 \u2013 A new exhibition at the Whitney Museum of American Art showcases more than two decades of Julie Mehretu\u2019s paintings and works on paper.","og_url":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2021-03-19T13:00:55+00:00","article_modified_time":"2021-03-19T15:15:34+00:00","og_image":[{"width":1000,"height":625,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg","type":"image\/jpeg"}],"author":"The Paris Review","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"The Paris Review","Est. reading time":"2 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Blueprints for Another World","datePublished":"2021-03-19T13:00:55+00:00","dateModified":"2021-03-19T15:15:34+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/"},"wordCount":391,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg","keywords":["Featured"],"articleSection":["Look"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/","url":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/","name":"Blueprints for Another World by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg","datePublished":"2021-03-19T13:00:55+00:00","dateModified":"2021-03-19T15:15:34+00:00","description":"A new exhibition at the Whitney Museum of American Art showcases more than two decades of Julie Mehretu\u2019s paintings and works on paper.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/03\/julie-mehretu_black-city_e.2020.0066.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/19\/blueprints-for-another-world\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Blueprints for Another World"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e","name":"The Paris Review","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","caption":"The Paris Review"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/151517","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=151517"}],"version-history":[{"count":11,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/151517\/revisions"}],"predecessor-version":[{"id":151540,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/151517\/revisions\/151540"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=151517"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=151517"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=151517"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}