Willem Dafoe discusses the Wooster Group, Platoon, and the reasons he works in both theater and film.
Janet Hobhouse discusses her various books with Bruce Wolmer — November, Dancing in the Dark and Everybody Who Was Anybody: A Biography of Gertrude Stein—and the differences between “American” and “English” writing.
Artist and writer Aimee Rankin examines the confrontation with mortality that resides in Ross Bleckner’s work and the connection between paintings and trophies.
Lucretia
Here is what I learned about you last night:
Who knows what hearts and souls have in them?
Robert Smithson Does Some Impressive Talking to an Idiot Who Just Trailed a Beam of Light
This is what Abhor, who’s my partner and part robot, told me was her childhood:
Paints are ineffective against heat emission, the principal sources of thermal infra-red signals.
—The History of Camouflage, Guy Hartcup, p. 145.
Her father liked to scare her. He knew she adored him.
A portfolio of artists’ works curated and introduced by Saul Ostrow.
Oil and lacquer on fabric, Untitled, by Sigmar Polke. Part of the Köln portfolio.
Eddie Owens Martin led a bizarre life as an artist, hustler, fortune teller, architect, and religious visionary. His most remarkable artistic endeavor was re-inventing himself as St. EOM.
A piece on European art and its sensibility, titled Something Different, by Stephen Ellis.
Oil painting on canvas, titled 4.23.85, by Thom Cooney Crawford.
Two views of mixed media sculpture Grope Kiste, 1981–3. Part of the Köln portfolio.
Lacquer painting on wood, titled o.T., by Udo Lefin. Part of the Köln portfolio.
Untitled oil on canvas painting by Alice Stepanek and Steven Maslin.
Oil on linen painting, titled The Equinox, by April Gornik.
Cardboard, acrylic, string, and varnish, titled Rheinishes Totem bet, by Felix Dröese. Part of the Köln portfolio.
Two oil on canvas paintings, titled African Sculpture in Lower Manhattan, circa 1965 and Anemonies in Rusted Can, 1975 by Gandy Brodie.
Oil on canvas painting, titled No. 617 (Meditation), by Gerhard Richter. Part of the Köln portfolio.
Wire and underwear sculpture, titled German speaking peaks “Muttler” by Georg Herold. Part of the Köln portfolio.
Three photographs, titled Colonia 28 Ottobre, Marina di Massa, Colonia Marina di Chiavari, Colonia Marina Calembrone by Gunther Forg, and an installation shot of his work. Part of the Köln portfolio.
Three pieces, titled Portrait of Robert Capa, Girder Pictures, and 7 Romain du Kirche, St. Sereon, by Hanno Otten. Part of the Köln portfolio.
Two works by Hubert Kiecol—Black Drawing, charcoal on paper; and sculpture Stair with Base, cement. Part of the Köln portfolio.
Cement, plaster, and wood sculpture, titled Church, by Isa Genzken with installation shot. Part of the Köln portfolio.
Mixed media painting, titled Druid Deja-Vu, by Jamie Dalglish.
Untitled oil on wood painting, by Leonard Bullock. Part of the Köln portfolio.
Two ink and crayon works on paper by Mimi Thompson, titled Norway and Lady in a Hat, by Mimi Thompson.
Two oil paintings—White Nebula on baltic birch and Black Nebula on mahogany plywood, by Nicholas Maffei.
Casseine on canvas over wood, titled Ohne Titel (Totem), by Blinky Palermo, 1964. Part of the Köln portfolio.
Two works by Rayberry—Life’s Charges, linoleum block and The Earth is Halfway Between Light and Dark, mezzotint on copper.
Two paintings by Robin Winters—Life Full of Holes, oil on canvas and Block Party, mixed media on paper.
Mixed media assemblage in a box, titled Separation, from the Theatre of Love Series, by Aimee Rankin.
Acrylic, gouache, and oil on canvas, titled Im Zeitalter der Kopein und Kopisten (In the Age of the Copier and the Copiest), by Rolf Walz. Part of the Köln portfolio.
Two oil on canvas paintings, titled Dr. Calamari and Three Stages, by Alexis Rockman.
Untitled wrought iron, glass, and cast iron sculpture by Rosemarie Trockel. Part of the Köln portfolio.