Embracing divine identity through photographic portraiture.
the birdcage is gasproof I have an important message for you the birds are wired /
peace is blind as teargas love your lungs will not collapse but swell
“The blood of the thing is the truth of the thing.”
Confronting the legacy of J. Marion Sims.
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.