The body as social sculpture.
“Our bodies are graveyards of cells, the source of art, inherently finite, constantly decaying.”
From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.
This guide is for women who feel that they will soon be engaged in a new revolution to overthrow the soul-crushing social codes that govern their sexual, professional, and familial lives.
As Anna K.E. explains it, first a picture comes to her, then she completes the action.
To write about Naufus Ramírez-Figueroa is a difficult task.
“I don’t accept the idea of my history as tragic.”
Homebody, the title of Mike Goodlett’s first New York solo exhibition, playfully refers to his life of relative seclusion in rural Kentucky.
“Radical spaces can generate and evolve ideas and tactics, some of which cross over into mainstream culture—and need to.”
Breaking the Frame, a film by Marielle Nitoslawska about Schneemann’s unique legacy, serves as a departure point for an exchange about the “beauty paradox,” historical and contemporary patriarchies, and the artist’s ongoing subversion of gender codes.
I remember Florentina Holzinger’s first costume. It was an oversize, orange-dyed dress, a muumuu really. She was sitting in a chair center stage. A minute or so earlier, a high fan kick had revealed her lack of underwear.
The French writer speaks to his translator about his latest autobiographical novel to appear in English. Titled In the Deep, it deals with the link between desire and his early literary output, as well as the effect of his Catholic upbringing and World War II on his imagination.
I met Claudia Rankine in a parking lot after a reading, where I said crazy fan things like, “I think we see the same thing.”
Christine Wertheim’s recently released book mUtter-bAbel is gorgeously hyperbolic, a primordial pataphysics of text and drawings that explores relationships between babies, mothers, language, and “ugly archaic feelings and their troubling social effects.”
A fear of alienating myself from approval by revealing my truest self … a fear of not being heard, being judged, being misunderstood … These things make me tremble.
The historical, physical, and poetic forces that shape Ring’s triptych, Forgetful Snow.