Genesis BREYER P-ORRIDGE and Verne Dawson
I met Verne Dawson while sitting beside him at Table 23 at the celebration for Dream Machine: Brion Gysin at the New Museum in New York. Dawson revealed a cosmic process previously unsuspected by me: the genii of the 22 paths of the Kabbalah and their correspondence to the 22 major cards of the Tarot.
A painter colleague, Fabian Marcaccio, uses a phrase to describe a certain kind of artist. He says that they are “long runners.” Stanley Whitney is a long runner.
Katrín Sigurdardóttir’s sculptures and installations merge embodied experiences of place with conceptual constructions of space. She reflects with poet Eva Heisler on the early memories that inspire her work.
Federico León’s recent Las multitudes was staged last year in Argentina. For Richard Maxwell, the playwright-director’s production is a “brokenhearted humanity tale.” A heroic one, at that, with 120 actors.
Federico León’s recent Las multitudes was staged last year in Argentina. For Richard Maxwell, the playwright-director’s production is a “brokenhearted humanity tale.” A heroic one, at that, with 120 actors.
Stan Allen’s seminal essay, “Field Conditions,” written almost 15 years ago, still resonates among architects. He confers with Nader Tehrani on landscape urbanism as well as building and teaching “from a position of uncertainty.”
I first met Rachel Kushner in Toronto McCarren airport in, I think, 2007. We were both there for the International Festival of Authors (IFOA). I’d just spent several hours in US immigration detention (the asshole border guard had opined that I “didn’t deserve” my visa) and I was heartily pissed off at missing a flight to New York.
Enrique Vila-Matas’s characters include James Joyce, F. Scott Fitzgerald, Ernest Hemingway, Paul Auster, and even Enrique Vila-Matas. The Catalan author talks with Meruane about his distinct method of interlacing reading, writing, fact, and fiction.
Read the Original Spanish language text de esta conversation.
In the early ’70s, Fitzgibbon made a series of radical films and then put them aside. P. Adams Sitney begins to unravel the story behind Fitzgibbon’s early, seductive flicker films to her latest iPhone movies.
The Insult: “Shut up, you dirty greaser.” From Tejas by Carmen Boullosa
It’s high noon in Bruneville. Not a cloud in the sky.
The sight of a handsome girl in too tight cut-offs sent the reels in Travis’s slot machine brain scrambling.
She was fat, short, freckled and with sort of reddish excessively frizzy hair.
If you stop me
from cutting
your hair,
Minding the Elephants
(03/20/2003 – 12/18/2011)
Like a lion he breaks all my bones …
Take the horizon line, for example
a mirage—
that marks the limit of sight.
Quiet Hands
My nephew is stimming
this morning,
Portfolio by Seton Smith
Seton Smith bestows a non-descript quality upon the houses that she photographs.
