As artists, we have to find the antidote to this darkness right now, to how everything feels so compressed rather than expanded.
—
Meredith Monk
Project by Leanne Shapton
MOLLY, MERCY, MADELINE,
MYRA, MAGGIE, MEREDITH,
MARLEY, MAGDA, MARGARET,
MINDY, MILLIE, MAGDALA,
MYRNA, MOIRA, MARIANNE,
MARLA, MAURA, MARIGOLD,
MEGHAN, MARY, MILLICENT,
MAITE, MAPLE, MITZI.
- Mel Chin by Saul Ostrow
- Sarah Oppenheimer by Alexander Galloway
- Njideka Akunyili Crosby by Erica Ando
- Okwui Okpokwasili by Jenn Joy
- Jen Bervin and Dianna Frid
- Marina Rosenfeld by Tristan Shepherd
- Laia Jufresa by Valeria Luiselli
- Nell Zink by Keith Gessen
Interviews
- Assisted Living by Gary Lutz
- Hit or Miss by Lindsay Hunter
- Three Stories by Maria Rapoport
- Spoleto ‘65 by Bill Berkson
- from Everything by Charles North
- Five Poems by Marwa Helal
- Two Poems by Emily Skillings
- Portfolio by Olga Chernysheva
First Proof
- Audra Wolowiec by Emmalea Russo
- Laura Owens by Claudia La Rocco
- James Esber by David Geers
Artists on Artists
- Project by Leanne Shapton
Project
- Hans Ulrich Obrist’s Conversations in Mexico
- Stephon Alexander’s The Jazz of Physics and Jace Clayton’s Uproot by Paul D. Miller
- eteam’s OS Grabeland: Art Novel by Micaela Morrissette
- Lucile Hadžihalilović’s Evolution by Sabine Russ
- Carmen Boullosa’s Before, Translated by Peter Bush by Will Heinrich
Selections
- End Page by Jonathan Horowitz
End Page
Series of watercolor paintings on paper, 2015, 6.5 × 7.75 inches each. Images courtesy of the artist.
Leanne Shapton is an artist, writer, and publisher. She is the author of Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris, Including Books, Street Fashion, and Jewelry (Sarah Crichton Books, 2009) and Swimming Studies (Blue Rider Press, 2012).
Related
Painter Richard Hull interviews artists Jim Nutt and Gladys Nilsson in their Chicago home. Check out an audio excerpt from their conversation about El Greco, Chicago Imagism and the Hairy Who.
Larger than life-size, glancing head on or sideways, Jennifer Clifford Danner’s portraits—for portraits they are, in the traditional sense, if not painted in the traditional method—confront their audience with a dignity and vulnerability rarely seen since Klimt’s Portrait of Adele Block-Bauer.
Originally published in
BOMB 137,
Fall 2016
Featuring interviews with Sarah Oppenheimer, Mel Chin, Marina Rosenfeld, Okwui Okpokwasili, Laia Jufresa, Nell Zink, Jen Bervin, and Dianna Frid.
