Collage
Collages as characters.
Collages as characters.
Photomontages that expose power and brutality.
Video and collage work that investigate anxiety and Blackness.
Wojnarowicz: F**k You F*ggot F**ker (World of Wonder) a documentary by Chris McKim, pays tribute David Wojnarowicz, capturing the care and ferocity of the AIDS activist and artist.
Creating a poetic history book with collage.
Reconstructing a family history in video and collage.
Baum’s work unearths and explores the incidental poetry of UFO sightings, dog-eared paperbacks, and obsolete artifacts like card catalogs.
Exploring queerness and Black bodies through drawing and collage.
Working with collage to undo the gendered and racist gaze.
A rare David Wojnarowicz zine is republished.
The detritus of a filmmaking career becomes an immersive work of autofiction.
Photographs addressing gender, sexuality, and popular culture.
From Andrei Tarkovsky to Lucrecia Martel, Peter Hutton to Nathaniel Dorsky, entire aesthetic philosophies, genres, and approaches to filmmaking have been rooted in the elements.
Devon Marinac is a visual artist whose practice includes painting, drawing, collage, and zine making, often in combination. Devon was born in British Columbia, raised in Mississauga, and currently resides in Toronto.
These poems are excerpted from Annelyse Gelman’s Heck Land: The Resorted Text, a lyrical reworking of the definitive edition of William S. Burroughs’s seminal anti-novel Naked Lunch: The Restored Text. There are twenty-five in all—one for each chapter of Naked Lunch—each a scalpeled, reappropriated cut-up tape-mounted to projector transparency, then photographed recto and verso, along with dust, fingerprints, squashed bugs, and other process artifacts.
This piece consists entirely of first sentences from 268 short stories published in The New Yorker over the past 20 years, from 1997 to 2017.
A print project glitched by digital media.