“This eternity stuff is definitely very important for me. The days are passing, time is running; we will die, everybody has just one life. That’s why it’s very important how this life is going. The quality of this life. We are not in the church, where people are told lies.”

A scholar not only of literature, but of culture, horticulture, and above all the human body and its communications, Nádas presents a picture of temperament and elegance in the great tradition of the European intellectual.

“I have diversity in my work, but I also have control of it. I rarely paint things that I like.”

“My dream was a synchronized sound of present, absent, and distant musicians choreographed across the audience via the elaborate placement and movements of the performers in the whole building.”

“I worked at Shepherd-Pratt mental hospital, and I liked to take my name tag off and maybe be confused for one of the patients.”

I’ve been thinking about Kara Walker’s work for a long time. Two years ago, a bleeding barn from one of her watercolors appeared in one of my poems. 

“In my novels, when two people finally get together, finally are able to declare a love for each other, finally able to live together, it’s because they have exhausted all negative possibilities.”

This First Proof contains the story “In My Yoke Skirt.”

This First Proof contains a series of “Zeus” poems.

This First Proof contains the story “What Happened Between Us.”

Essay by Ambar Past. Contributions by Mikaela Días Días, Xpetra Ernándes, Sluz Hernández, Manwela Kokoroch, Rosa López Kómes, Loxa Jiménes Lópes, Roselia Montoya, Xunka’ Utz’utz Ni’, Antel Péres Ok’il, Munda Tostón, María Tzu, and María Xila.

This First Proof contains the an excerpt from the novel The Life Room.

Steve Earle on how Robbie Conal’s satirical, defiantly political drawings involve a constant process of teaching and learning.

Trevor Paglen on how Nicola López’s jumbled cityscapes reflect the “Anthropic” age we live in.

Sharp is a top-notch avant-garde guitarist whose main musical styles are far from bebop, but this disc of tunes by bop legend Thelonious Monk is not some hipster’s ironic desecration of iconic material.

I have come across a double find: first, a special two-part issue of the journal Visible Languageon Fluxus, edited by Fluxus historian Owen Smith and Fluxus artist Ken Friedman; and second, no less exhilarating, the journal itself. 

In the summer of ’99, after I failed to land an unpaid docent gig at the Art Institute of Chicago, I fell into an internship (paid!) with Rick Valicenti, a weird and brilliant artist and graphic designer based in Barrington, Illinois (where the high school’s sports teams are the Broncos and the Fillies). 

CAConrad’s first book is a voracious projectile, cutting desire and dissidence into bite-size servings: eat me.

If Art is the sedimented history of human misery, as Adorno said, it can also be the consolation prize for a broken heart. 

“In another time I guess I would have been content with filming girls and cats. 

Every two years (or three, or four—it really all depends), the Museum of Bad Art in Dedham, Massachusetts, holds an eagerly anticipated Rejection Collection Auction. 

“The chasm between contemporary art and theater is a topic of perpetual amazement to CiNE. 

Even more extraordinary than the putative subject of Linda Hattendorf’s debut documentary, an elderly homeless artist, is the fact that Hattendorf started aiming her camera at him long before September 11, 2001.