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.
The imaginary as real.
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.
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.