Interview
The artist, director, and actress discuss their endurance performance, The Second Woman, and its exploration of gender performativity.
Painting and sculpting faces.
The poet, translator, and Action Books publisher on his collection of essays about US literary culture, foreign influence, and the illusion of mastery.
Reminding us the artwork does not exist in a void.
A short history of Detroit techno.
The writer on the tradition of notebook writers, archiving his own work, and enjoying a ragged, damaged, nervous narration.
Honoring the art-making process.
On mystifying moments big and small.
The writer on releasing her debut story collection, writing as a woman of color, and balancing a medical career with the writer’s life.
The writer and activist filmmaker on completing the trilogy comprised of Nervous Conditions, The Book of Not, and This Mournable Body—narratives of women’s strength in the face of injustice.
Exploring Grenada’s past and present.
The “mother of African contemporary dance” discusses her solo, multimedia performance SOMEWHERE AT THE BEGINNING.
The Head of Content at David Zwirner discusses art books, design, and a new Romanticism.
Honing sensory experience and collective mindfulness.
“When you’re an artist, you bring what you know, what you think, what you’ve experienced, your aesthetic, your ambition, and it doesn’t have to be conscious. In fact it shouldn’t be self-conscious. If the work isn’t speaking to you, if you’re not getting it from what you’re seeing, you’ve failed, and no amount of explanation is going to change that.” —Janet Olivia Henry
“Making our art is the purest thing we do. There are no hidden lies. My work is my truth as I have lived it.”—Sana Musasama
On a visit to the New Mexico Museum of Art, two poets grapple with questions of performed authenticity and settler poetics, while analyzing depictions of the American West.
The actor stars opposite an opera diva in Norma Jeane Baker of Troy, Anne Carson’s verse play that reflects on the histories of two iconic women millennia apart.
The composer and percussionist’s Autoschediasms language invites collaborative composition between a conductor and musicians by employing a lexicon of gestures and textual cues.
An international chess master and a filmmaker play a match while discussing the art of the game and its history in India.
The two Chinese-born filmmakers reflect on Wang’s new documentary One Child Nation and her unique approach to blending the personal and political.
