Speaking through materials, Joshua Neustein recalls cultural memory and history. His elegant and earthy installation Light on Ashes does just this.
Keith Tyson explains his “Artmachine” computer program, which pulls pieces of information from a reservoir of different sources and matches them at random to create project proposals which are then considered for construction.
Racing thoughts: Artist and poet Marjorie Welish speaks to the legendary painter on the eve of his Fall 1996 retrospective at the Museum of Modern Art.
Linda Yablonsky speaks with artist Laurie Simmons whose photographs have toyed with our perceptions since 1976.
A glass a day, every day…An artist’s obsession: the act of painting.
Brenda Blethyn’s performance in Mike Leigh’s Secrets and Lies won her a Palme d’Or for Best Actress at Cannes. She talks about Leigh’s special process of improvisation.
Written in a young girl’s unschooled voice, Push (Knopf) is a harrowing story of a brutalized child’s journey to redemption and relevance. It’s a searing indictment. A sensational read.
Suzannah Lessard’s rumination, The Architect of Desire: Beauty and Danger in the Stanford White Family, and Honor Moore’s biography of her grandmother, The White Blackbird, reveal the myths and truths surrounding family legacies.
A. M. Homes speaks to the master storyteller of This Boy’s Life, In Pharaoh’s Army and a book of stories, The Night in Question.
Stuart Cohn examines composer Richard Einhorn’s extraordinary opera Voices of Light, based on the life of Joan of Arc and Carl Dreyer’s classic film.
Scott Elliott’s meteoric rise as a theater director is hailed as the return to the tradition of ensemble acting.
Dancing as an art cannot die out, but will always undergo a rebirth — so wrote the philosopher Havelock Ellis at the beginning of the 20th century.
The day of someone’s wedding,
Probably, walking through
My paintings develop from where my life intersects with the persons, places, and things that I depict. I am interested in the memory and translation of the psychological impact of their physical presence.
Observing the bricks
In a wall: how abandoned—
My mother is lighting another cigarette from the stove.
I advise a promising student not to settle for flower when hibiscus is more precise.
This First Proof contains an excerpt from the novel Father and Son.
This First Proof contains Thomas Bolt’s selection of work by Alliance Poets Jeffrey Gustavson, Edwin Frank, and Andy McCord for this poetry portfolio.
I was into the Orioles, Ruth Brown, Larry Darnell, Louie Jordan, The Ravens, Ya know, the late ’40s, just going into high school. When my 1st cousin, George, let me have his older brother Sonny’s BeBop collection!
This First Proof contains an excerpt from the novel The Apprentice.
This First Proof contains an excerpt from the collection of prose poetry City Terrace Field Manual.
The characters in Rebecca Brown’s eloquent short story collection What Keeps Me Here(Harper Collins) are predominantly women—women who are strong, who love each other, who make art, and who wait in silent rooms for their lives to change.
Wonderful as it is to have two books by Paul Schmidt—poet, playwright, translator, actor, teacher—appearing at the same time, it is also a bit confusing.
Tadeusz Konwicki is a Polish writer of novels, essays, and screenplays. He must be in his seventies by now. He was briefly published in America in the mid-’70s when the writings of Eastern European dissidents like Kundera initially caught the attention of American intellectuals.
For me, though, what is most engaging about Gordon is the way his mind unravels a thought.
Before the Guggeheim museum opened on October 21, 1959, some of New York’s prominent contemporary artists protested against its construction because “of its disregard of the fundamental rectilinear frame of reference.”
Bill Komoski is one of the best abstract painters to have emerged in the late ’80s. I know that this is a bold statement—given that Komoski has not received the same critical attention and support of his better known peers. Therefore, what do I base this on?
The 19th-century traditional skills of the “fine artist” and the nomadic intellect of the postmodern would seemingly be at odds with one another, as if object and subject were intent on maintaining total disregard or being completely dissolved by each other. Such a paradox is at the core of Roland Flexner’s work.
If a movie could embody the old-fashioned superstitions of “something old, something new, something borrowed, something blue,” it would be Palookaville—a wildly hilarious account of three hapless, somewhat humble, starving, beautiful knuckleheads.
Without uttering a single word, Bustamante offers an eloquent commentary on the abject dimension of female experience.
In Yvonne Welbon’s short films and videos, memory laps at the crumbling shoreline of history.
In the old days of theater, when the play was still the thing but movies were already a fast way to make a buck, New York playwrights hightailed it out to Hollywood after the current season had gotten underway. Then by the following summer, having made a killing in the schlock market, they’d be on the train heading back for Broadway to go into rehearsal for the next season.
No matter that R.L. won’t turn 70 until this Thanksgiving, only that he’d slashed-and-droned out his own high style before Elvis amounted to a fart in a gale of wind.
Albita is about to put her name on our lips. While the music of this 33-year-old Miami-based Cuban singer couldn’t be more puro, her new CD, Dicen Que (SONY/Epic/Crecent Moon) will surely result in some “crossing over.” Not by her, though, but by English-speaking fans, especially those who like to dance from the hips down.
Sardonic lyrics, a vocal section that approximates flint vigorously being rubbed against stone, a formalist rhythm section that gives Philip Glass and John Zorn a run for their money—these are the things that Prolapse is made of.
The Bohen Series on Critical Discourse: “Equality in the Theater” by Craig Lucas.
