Ville Kumpulainen is a photographer living and working in Helsinki, Finland. In his new book, Out of Sight (Hatje Cantz, 2017), Kumpulainen manipulates archival images to solidify the tenuous connection between present and past, attempting to fill the gaps left between himself and his history.
In advance of the next installment of his extensive history of New York City, Wallace expounds on the pivotal early years of the twentieth century.
John Giorno’s influence as a cultural impresario, philanthropist, activist, hero, and éminence grise stretches so widely and across so many generations that one can almost forget that he is primarily a poet.
“I’m interested in subterranean culture that says ‘I will trick you’ to official culture, ‘I will play you.’”
Obscuring the past to get at truth in Paul La Farge’s The Night Ocean
Kassab Bachi, one of the most prolific Arab painters, has never exhibited in the Arts Club of Chicago. Yet three of his drawings were found on the backs of three framed artworks in the club’s storage.
Through sewing, weaving, and embroidery, two artists probe the boundaries between texts and textiles.
“I’m a multimedia artist. If it’s not in the museums or history books, then where’s my art history?”
“Liberty’s show manages to be about prison and not about prison at the same time: her audience writes about how the music lets them forget they’re incarcerated for a moment, and she calls that effect ‘time travel.’”
“One actively is olived, one actively becomes a desired color, desired manufactured ethnicity.”
“The context for creation is collaborative, it’s peer-based, it doesn’t emerge from a bubble. So why should these works be viewed so discreetly thirty years on?”
Restoring, archiving, and exhibiting artists‘ films from the post-punk era.
Leigh Ledare’s projects involve interpersonal triangulations in which the camera plays a crucial role and all parties, viewers included, are implicated. Upon A.R.T. Press’s publication of a book-length dialogue between him and Rhea Anastas, Ledare revisits recent works with novelist Chris Kraus.
“Criminal evidence, not scientific evidence, as gathered from sites of slow crimes in progress.”
“It’s easy to laugh at Y2K now, but what are we laughing at?”
The origins of nostalgia and some theoretical foundations of photography.
For Hoff, distribution networks serve as creative agents. Musician Eli Keszler queries the artist and publisher of Primary Information on paintings based on viruses and syndromes, and also on his pop-leaning sound works.