Two artists drawing from punk, graffiti, and traditional Native American aesthetics, talk about protest art and the notion of the “Post-Smithsonian delinquent.”
You are a color-blind social worker in a small town and your secret is you stopped giving a fuck. A man you loved more than you knew was possible has left you, but so what, right?
Sisters Lydela and Michel Nonó conduct performative interventions at their art space/home in Puerto Rico, using improvisation to process family memories and trace the wounds of colonialism.
Reassembled fragments of texts and vocalizations invite audiences into the immersive installations of these two artists.
Fashioning ersatz artifacts and museological displays, two artists dispense with individual authorship to inhabit the “speculative nature of history” with an eye on the future.
The director of The Rest I Make Up reflects on the life and companionship of María Irene Fornés.
Creating collaborative, environmental public art.
An art exhibition responds to a psychoanalytic text.
An artist’s collaboration with musicians.
An artist and a choreographer challenge the term collaboration, which they see as an approach rather than an outcome or frame of interpretation.
The inventive electronic musician discusses collaboration, method, and digital distribution.
A collaboration between B. Ingrid Olson and Kate Zambreno.
From Super PAC to supernova, two artists view photographs through the lens of time, and time through the lens of colonialism.
A choreographer and a visual artist imagine ways of inhabiting civic spaces.
WWW highly enjoys collaborations and co-creation and is currently involved in the project Perfect Users: a remix group that reflects on using-in-general and digital anthropology (or not).
The poet on prison writing, collective art-making, Bay-area resistance, and being read in a thousand years.
Incorporating poems by Maureen McLane, Dorothea von Moltke, Geoffrey Nutter, Rowan Ricardo Phillips, Sal Randolph, Mónica de la Torre, and Monica Youn
I sat at the bar of the Zwiebelfisch in Berlin together with David Bell, the renowned Kant scholar; it happened to be one of his regular haunts and it was the only spot where we could have an undisturbed meeting whenever he was in Berlin.
The basic conceit of Warm Equations is that a book can abstract the space of conversation typically delimited in front of paintings, that the thematics of a painter’s practice, in this case Alan Reid’s, can be constellated through a chorus of related texts.