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The British experimental rock group returns to the stage.
Wheatpasting portraits on the Navajo Nation.
Interrogating the whiteness of the user interface.
On writing without moral objectives, Florida’s thunderstorms, and jobs both terrible and sublime.
Photography at the intersection of the historical and the prosaic.
If you can’t stand the first person, / get out of the kitchen. / Similar but escalating sleights of hand: / he wants to eat both the girl and the food in her basket. / She is past specialness, / doubling the likelihood. In such young women, / traumas curl / till Christmas ribbon. The greatest predictor of red / is oxygen.
Available Light returns to New York.
The writer on the space between poetry and prose, how fighting is like dancing, and the resonant symbolism of the idiophone.
These drawings are from a series of 210 on view at the Graham Foundation in Chicago as part of Torkwase Dyson and the Wynter-Wells School through July 28, 2018.
Computation, performance, and human-instrument networks.
A retrospective by the groundbreaking conceptual artist.
I get a part in a movie. I act every once in a while, small bits in small films whenever I know the producer or the director. This time it’s the director.
Introducing a new quarterly roundup of fellowships, residencies, and more currently accepting applications.
Building a possible portrait of Chelsea Manning from DNA.
The choreographer on exhaustion and revival.
The real-time making of an artist.
A film uncovers an episode at the origins of the civil rights movement.
I planned to write a book about / the color blue. Now I’m suddenly surrounded / by green, green gagging me / pleasurably, green holding onto my hips / from behind, digging into / the cleft, the cleft // that can be made.
“I take myself, my drawings, and this little bundle of creative forces that is me, and I try to make a chemical reaction with the world.”—Swoon
