Three sketches by Christof Kohlhofer for Williams S. Burroughs’s The Four Horsemen of the Apocalypse.
All images: Christof Kohlhofer, Sketches for W.S. Burroughs “The Four Horsemen of The Apocalypse,” 1983, pen and ink.
Three marker drawings, Untitled (Monday Nov 2), Untitled (Sunday, April 18) and Untitled (Martes 20 April) by Jiri Georg Dokoupil.
In 1946 the Russian astrophysicist Gamow, transported in a US Air Force plane from California to Canada, from there to Washington, and from there to Florida, on each occasion to deliver a lecture, saw WITH HIS OWN EYES—while waiting in a noisy café on New York’s Fifth Avenue during one of the few quiet moments he had to himself—the rotation of atoms and subatomic particles, their spin, the constant revolution of molecules and planets, the rapidly turning stars, galaxies and superclusters.
Originally published in
Edouard Roditi by Bradford Morrow, Taylor Meadeby Alf Young, art by Elizabeth Murray, Ellen Phelan, Pat Steir, and more.
Work that is just about the technical or conceptual, personal or political, is fine; it meets the world with what’s in fashion. But there’s something else bordering on magic, that brings an artwork home, makes it land and resonate. You can’t really teach that so much as conjure it.
Kara Walker
