Two artists find a mutual fascination with both the aesthetic qualities of repetition and the mechanical means of reproduction.

The eminent artist discusses her materials, “frozen gestures,” and the illusion of form.

Mold-making and photography have an ambiguous relationship to whatever they reproduce. They can deliver the most faithful rendition of a given model, but it is precisely this similarity that makes them extraordinary, unreal.

Julian Hoeber on film, intertextuality, and his latest piece, Demon Hill, a disorienting optical illusion come to life.

Officially Paul Thek died in 1988, but really he died twice.

For his most recent venture “Big Mind Sky”, the Swiss-born artist Ugo Rondinone packed 12 gargantuan and grotesquely grinning busts—each named after a month—into the cavernous space of Matthew Marks Gallery in New York.

The sculptures of Helga von Eicken explore the mysterious inner world of human consciousness, conveying simultaneously presence and absence, memory and change.

Perhaps too much has been made of the psychoanalytic content lurking under the surface of Rona Pondick’s simultaneously shadowy and intensely palpable objects. 

Michael Winterbottom’s Welcome to Sarajevo, a partially fictionalized account of one English journalist’s struggle to save a Bosnian child, captures the moral dilemmas of war reporting.

Midnight—the perfect time to segue from good and evil to The Addiction and back. Abel Ferrara talks about his film while juggling the chaos of pre-production for his following release, The Funeral.

“I always think the whole history of the world is in your body.”

A portfolio of Lisa Hoke by Betsy Sussler, concerning Hoke’s sculptures.

“When you really start to think about what your organs look like and what would happen if your skin were ripped off or your chest were opened up and you looked inside, it’s not something you want to identify with, but something you want to distance yourself from.”