waterfall apparition after a flaming carajillo
cantineando al “estilo Jalisco”
at the corner of Penitentiary and Liberty
stepping between creepers
extra safety
you clean a house abandoned for thirty years and find some surprises
holy cozy molcajete
where kissing is forbidden and one hundred animals were sacrificed
when indecision is strong and you make the best choice
a way for art
Mexican accuracy
in flagranti
painting tree trunks white is believed to keep ants away, here it seems that ants fear giraffes
pointy boots mirage
plunging into the void
to keep your ideas running
daybreak window-sill still life
post-industrial, post-retail, a Sears that only sells displays
chicken play…
thirdhand smoke
the eye of a rock
Alejandro Almanza Pereda lives and works between the United States and Mexico. Known for precariously balanced large-scale sculptures that put common objects into unlikely configurations, he exhibits internationally and has had solo shows at the San Francisco Art Institute; Rubin Center, El Paso; El Eco Experimental Museum, Mexico City; College of Wooster Art Museum, Ohio; and Art in General, New York. While Almanza maintains that his principal focus is formal, not narrative, his snapshots tell the story of how incidental moments of juxtaposition, craft, and wit inform his studio practice. The photographs featured in this selection date from 2015 to the present and range from Madrid to Guadalajara. Each includes a remark by the artist.
Cultural hybridity and displacement between East and West.
Bernadette Mayer’s Memory was never meant to be a book.
A social-practice artist talks about working with painting and photography.
Originally published in
Featuring interviews with Mary Weatherford, Nanfu Wang, Lee Quiñones, Venkatachalam Saravanan, Tyshawn Sorey, Ben Whishaw, Édouard Louis, Geovani Martins, Prageeta Sharma, and James Thomas Stevens.
Let me tell you first about what it was like being a Black woman poet in the ‘60s, from jump. It meant being invisible. It meant being really invisible. It meant being doubly invisible as a Black feminist woman and it meant being triply indivisible as a Black lesbian and feminist.
Audre Lorde
