Art

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Maren Hassinger by Lowery Stokes Sims
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“Right, they weren’t paintings, they weren’t colorful, but I kept doing them because that’s what would come to me. I could have stopped, I suppose, but to me they seemed like good pieces and they were in line with my thinking. Artists do what they think is important to them in their life span. That’s what they’ve always done—Rembrandt or Van Gogh or Picasso. They did what they did because they thought it was important.”

Fall Issue Preview: Shahryar Nashat and Adam Linder by Aram Moshayedi
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An artist and a choreographer challenge the term collaboration, which they see as an approach rather than an outcome or frame of interpretation. 

Portfolio by Mano Penalva
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Creating an aesthetic rupture in systems of exchange.

Variation on 1.00056 by Paul Chan
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Burying White Supremacy (A Future Language Sovereign)  by Demian DinéYazhi´ & Ginger Dunnill
Shezad Dawood’s Kalimpong by Sabine Russ
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When I arrive in the lobby of Kalimpong’s famed Himalayan Hotel, I move around clumsily and with caution. I’m wary of touching objects left behind by long-gone visitors, and the pop-up ghosts of soldiers, businessmen, and mountaineers startle me.

My Favorite Regular by Devon Marinac
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Devon Marinac is a visual artist whose practice includes painting, drawing, collage, and zine making, often in combination. Devon was born in British Columbia, raised in Mississauga, and currently resides in Toronto. 

The Otolith Group’s O Horizon by Rahel Aima
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In the molten golden hour, a row of Santhal tribeswomen dance in an open field. Arms interlocked, they bounce as one centipedal body to the beat of a dhol, cymbals, and a purring bamboo flute. The musicians wear flowers in their turbans, while the dancers don expressionless metallic masks that impart an otherworldly timbre to the pastoral scene.

Animation and Abstraction: Jennifer Steinkamp Interviewed by Sean Capone
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Connecting real space and virtual images.

Artificial Intelligence, or, the Creatures of Prometheus by Roula Seikaly
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Has our insatiable appetite for technological innovation doomed us to a world without humanity?

Florian Meisenberg by Peter Rostovsky
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While taking a road trip across the US, the German artist reveals how digital technology, humor, and the human body inform his paintings and installations.

Indigeneity in the Present Tense: Pacha, Llaqta, Wasichay at the Whitney by Kaitlyn A. Kramer
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Resetting the narrative of contemporary indigenous culture in the Americas.

Announcing BOMB’s 2018 Oral History Fellow 
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The Oral History Fellowship is a post-graduate editorial fellowship offered by BOMB Magazine, with a goal to organize and publish interviews by artists of the African Diaspora who are based in New York. 

The Punk Version of Mrs. Dalloway: Laura Parnes Interviewed by Stephanie Barber
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Documenting and improvising alternative lives. 

Power in Diversity: fierce pussy Interviewed by Alexandra Juhasz
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The artist collective discusses a new public project.

Studio Visit: Margaux Ogden by Matthew J. Abrams
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Painting as disappearance.

Art, Politics, and Education: Adeela Suleman Interviewed by Rabia Ashfaque
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The changing art landscape of Pakistan.

Restless Surfaces: José Parlá’s Amistad América by Osman Can Yerebakan
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A mural’s ode to labor and migration.

Another Kind of Living Life (or Those Who Do Not Dance Will Have To Be Shot): Radcliffe Bailey: Travelogue by Jessica Lanay
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Art of enslavement and escape.

Reza Abdoh’s Cultural Compost: Negar Azimi and Tiffany Malakooti Interviewed by Sohrab Mohebbi
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An ecumenical, eccentric, ecstatic, illegible, undigestable stew.

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