“Making art that enriches one’s experience is a lofty ambition.”

The iconic dancer and choreographer is collaborating with musician Lukas Ligeti on Itutu, blending African pop with Western symbolism. They dissect African polyrhythms and Armitage’s movement language of sinuous curves.

Peelle’s stories in Reasons for and Advantages of Breathing carry a memory of the Southern past that we might find in a short story by Flannery O’Connor or Eudora Welty. A memory that, mixed with the present, becomes something that couldn’t have existed back then but that in all its forlorn glory and hope-riddled despair brings us to the understanding that the past, as Faulkner knew so well, never dies.

An unseen tap dancer whose reverberating steps haunt an empty gallery, Beethoven’s “Ode to Joy,” a whistleblower atop a hippo made of mud: Allora & Calzadilla on the politics of site and sound, plus video.

Jefferson describes Bradshaw’s plays as treacherous territories peopled with high-achieving suburbanites and professors gripped by sexual and racial manias. Their most dangerous quality: they act on pure id.

The peripatetic conceptualist (Where’s Al?) talks with artist Cheryl Donegan about Ginsberg’s Howl, the reanimated past, and the overlooked poetry of authorless signage.

Dabis wrote her film Amreeka, in theaters now, in response to her family’s Arab-American experience. An immigrant’s tale, the search for a better future in the Promised Land is full of seismic changes.

This First Proof contains four poems from Human / Nature.

Four poems by Nicole Steinberg

This First Proof contains a portfolio of four works by Valérie Belin.

This First Proof contains the story “Mrs. Dellums Speaks.”

This First Proof contains two poems by Paul Guest.

When I look at Tala Madani’s paintings, I notice a peculiar relationship between what is direct (the manner) and what is ambiguous (the matter).

Picture a man in New York City, wandering its busy streets. He spies a battered piece of small cast plastic on the sidewalk. Its shape is familiar to the eye and hand; it is intact but not instantly identifiable.

Emory Douglas joined the Black Panther Party soon after it was formed in 1966, and quickly began to work on the party’s newspaper, the Black Panther. 

A brand new mother unsentimentally nudges her crying newborn toward her breast just after giving birth. 

When Antichrist premiered at Cannes, the Internet went buzzing.

For the last five years, Robert Crumb, the father of underground comix, has been laboring over a graphic retelling of the first book of the Bible. 

Remember the old pulp novels—two-in-one, back-to-back and upside-down? When you finished one, you could flip the book over and read the other.

Formed in Scotland during 1986, the Vaselines were a band that was almost a fanzine.

In 1985, Sandy Denton and Cheryl James were working dead-end jobs at Sears when Hurby Azor, a coworker and audio production student, asked for help on a college project. 

Since the mid-’70s, Wesley Brown has produced intensely provocative, well-crafted novels and plays in which the lives and characters of African Americans at different points in history are explored. 

Open Letter, 2009

Mercè Rodoreda (1908–1983), often acclaimed as the greatest modern Catalan author, worked as a seamstress and wrote novels while in exile in France and Switzerland for over 20 years during Franco’s regime. 

So much to say about this book touching on the deadening effects of mindless employment, on marital dysfunction, middle-class preoccupations, dipsomania, and realty.

The collection of artists’ writings in THIS, conceived and edited by Susan Jennings, is a convincing testimony to the fact that artists, indeed, can and do work across mediums.