In Killer of Sheep, Charles Burnett’s 1977 film set in LA after the Watts riots, there is a scene you may recall: a group of friends sit in a car outside a liquor store; on the hood rests a can of beer, and the man in the passenger seat reaches through the empty windshield to sip from it.
Renée Green’s collection, Other Planes of There, which spans over twenty years of the artist’s career, holds an alluring sense of return for me, offering a kind of fossil record of an evolving debate among progressive artists and cultural critics.
There are numerous pleasures in encountering Herstory Inventory, a project initiated and organized by the artist Ulrike Müller, not least of which include a collection of 100 drawings by artists whom I love and admire.
Thom Donovan and Brandon Brown dive deep into the realms of literary theory and leftist politics in their epistolary exchange. They continue their conversation in the fourth of four exchanges.
Thom Donovan and Brandon Brown dive deep into the realms of literary theory and leftist politics in their epistolary exchange. They continue their conversation in the third of several dialogues.
Thom Donovan and Brandon Brown continue to dive deep into the realms of literary theory and leftist politics in their epistolary exchange. In the second of several dialogues, they delve into the archive of the unknown.
Thom Donovan and Brandon Brown promise to dive deep into the realms of literary theory and leftist politics in their epistolary exchange. In this first of several dialogues, they share mutual adoration and opening provocations.
This First Proof contains five poems by Thom Donovan.
Pendleton, whose new work is on view now at Pace Gallery, discusses the connection between civil protest and live art with poet Thom Donovan.
Language is a source and form of action, and anything but secure as seen in the recent WikiLeaks cables. Thom Donovan further explores the radicality of speech, in all its potential protest with his essay on Melanie Crean’s exhibition How To Do Things With Words.
“The stage allows an output of energies we don’t let out in life; fiction becomes the means for truth to appear in a way no documentary can.”
Alexandre Singh’s “The Alkahest,” Omer Fast’s “Talk Show,” Shana Moulton’s “Erratic Anthropologies,” and Tan Lin’s “Chalk Playground”/”LitTwitChalk”
Robert Fitterman and Vanessa Place’s book Notes On Conceptualisms is one of the first books to take on the term “conceptualism” in relation to recent practices in contemporary poetry, offering a preliminary textbook on the subject.