As artists, we have to find the antidote to this darkness right now, to how everything feels so compressed rather than expanded.
—
Meredith Monk
- Tran Anh Hung by Lawrence Chua
- Stephen Wright by Jennifer Berman
- Lawrence Gipe by David Humphrey
- Illeana Douglas by Lynn Geller
- Dan Graham by Mike Metz
- Mike Leigh by Bette Gordon
- Dona Nelson by Richard Whelan
- Haruki Murakami by John Wesley Harding
- Julius Hemphill by Suzanne McElfresh
- Robert Schenkkan by Stuart Spencer
- Campbell McGrath by Dallas Crow
Interviews
Mark Tansey, Intermission, 1992, toner on paper, 7¾ × 7½ inches. Courtesy of Curt Marcus.
Mark Tansey, Intercepting a Dangerous Interpretation, 1992, toner on paper, 7¼ × 10 inches. Courtesy of Curt Marcus Gallery.
Mark Tansey, Victorious Ahistorians Celebrating the End of History, 1992, toner on paper, 6¾ × 9½ inches. Courtesy of Curt Marcus Gallery.
Related
Francine Prose, author of the novel Hunters and Gatherers, delves into realism and the real act of painting time with figurative painter Catherine Murphy.
It was in 1981 and I was a sophomore in art school when I first encountered Chuck Close’s work at a show called Contemporary American Realism Since 1960. I was struck by how it didn’t resemble any of the other work in the show.
The recent conclusion of the choreographer’s trilogy, Water Will (in Melody), employs mime, gothic imagery, and a Grimm tale, to consider entanglements of nature, the feminine, and blackness.
Originally published in
BOMB 46,
Winter 1994
Featuring interviews with Haruki Murakami, Ileana Douglas, Dan Graham, Mike Leigh, Campbell McGrath, Dona Nelson, Tran Anh Hung, Julius Hemphill, Stephen Wright, Robert Schenkkan, and Lawrence Gipe.
