The British experimental rock group returns to the stage.
Wheatpasting portraits on the Navajo Nation.
Interrogating the whiteness of the user interface.
On writing without moral objectives, Florida’s thunderstorms, and jobs both terrible and sublime.
Available Light returns to New York.
The writer on the space between poetry and prose, how fighting is like dancing, and the resonant symbolism of the idiophone.
Computation, performance, and human-instrument networks.
Building a possible portrait of Chelsea Manning from DNA.
The choreographer on exhaustion and revival.
“I take myself, my drawings, and this little bundle of creative forces that is me, and I try to make a chemical reaction with the world.”—Swoon
Blending objects with performance.
Previewing a public performance on the Bronx River.
On the eve of Signs of Empire, his current show at the New Museum, the British artist and filmmaker elaborates on how philosophy and the history of cinema have influenced his practice.
Photographs that make you look twice.
Editing a collection of artist Carolee Schneemann’s writings.
The artists discuss painting landscapes, from transient rays of moonlight to the immensity of environmental changes.
The writer on surrendering, working through her avoidance, and using her body as an anchor.
Layering histories and identity.
Asking the question, “Why are we like this?”
The writers on their latest collaboration, Brothers of the Gun: A Memoir of the Syrian War.