“Right, they weren’t paintings, they weren’t colorful, but I kept doing them because that’s what would come to me. I could have stopped, I suppose, but to me they seemed like good pieces and they were in line with my thinking. Artists do what they think is important to them in their life span. That’s what they’ve always done—Rembrandt or Van Gogh or Picasso. They did what they did because they thought it was important.”
Before the premiere of their multimedia collaboration LIGATURE, visual artist Auerbach and saxophonist Hillmer talk about connectivity, geometry, and the nature of mind.
The writer on surrendering, working through her avoidance, and using her body as an anchor.
A collaboration between B. Ingrid Olson and Kate Zambreno.
Childhood memories, dinosaurs, ghosts, and “other vaguely aquatic forms intermingling.”
Poet and novelist Alejandro Zambra reflects on artist Cristóbal Lehyt’s use of a Chilean song lyric and its powerful associations.
The making and tearing away of wholes. Dissolving the made or not yet made, we find ourselves in this place, a loft in the old-school fashion.
Althoff engages multiple art modes—from painting to making music, as a band member of Workshop and under the pseudonym Fanal.
I first became aware of Florian Hecker’s sound work through his CD Acid in the Style of David Tudor.
Painter (and Psychedelic Furs frontman) Richard Butler on Warhol, passing ‘the bedroom test” and why his daughter is his muse.
Eli Kezler on endless installations, raw composition, and the spatial limitations of large-scale art.
I am a child
The Evening News
I wake up to the sound of a bird,
a bird that has smacked into
David Behrman, Tyondai Braxton, and Karlheinz Stockhausen took New York City by storm last weekend. Nick Hallett celebrates their interwoven histories and relationship to the cosmos.
Artist Tomashi Jackson explores the rhythms of labor and the poetic vernacular of popular culture and visuality in America.
Gordon Monahan’s book, Seeing Sound, is a trilingual, experimental text which presents his catalog of work dating from 1978 to 2011.
“The reason I am writing fiction is so that I can tell the truth from a vantage point that allows me some space.”
“I couldn’t have gone to Woodstock because I’m not fit to be a nudist.”