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.
fiction + volume = sculpture
The great lost American fragment novel.
Yep, here I am to tell y’all about YEAH—YEAH being YEAH the magazine, that turpentine “tonic in type for young and old,” mimeographed between 1961 and 1965 by Fugs founder, poet, and anarcho-sociologist of the Lower East Side Tuli Kupferberg.
A letter from Brakhage to the poet Robert Kelly describing his work on the groundbreaking film Mothlight.
Embracing boredom and creative constraints, Katchadourian tells of in-flight artwork and other conceptual projects.
Suburban sprawl and craft-store spree meet creeping apocalyptic bleakness.
“I don’t want the kind of career where everything is sensible and safe; I’d rather suffer through the anxiety of wondering where I’m going next than suffer the boredom of dancing in the same safe square.”
From Lagos to LA, a young painter’s images resonate with meaning, both personal and political.
Pacale Marthine Tayou is a Cameroonian artist based in Belgium. His work has appeared in documenta11 (2002) in Kassel, two Venice Biennales (2005 and 2009), and numerous international exhibitions. Recent solo exhibitions took place at the Serpentine Galleries, London, and Fowler Museum, Los Angeles, both in 2015.
“I’m fighting between control and letting nature take its course.”