The writer on her new novel, how Dominicans have shaped New York City’s culture, and creating artistic spaces that are truly liberating.
The social practice works of Bon and Tuazon take the form of functional interventions to address and educate about California’s water crisis.
Filmmaker Jason Osder discusses his documentaryLet the Fire Burn, an investigation into the 1985 bombing of the MOVE collective in Philadelphia.
Alex Zafiris meets with Ian Szydlowski of Chilean art collective Instituto Divoriciado to discuss their new multimedia work, Love and Other Hallucinations.
Based in Brooklyn’s out-of-the-way Red Hook, the Still House Group brings a fresh new perspective on what a collective creative effort should look like.
Departing a clandestine appointment in a San Francisco office tower, Jejune Institute inductees puzzle over an encrypted instruction key.
It is 1998 and The Exorcist is being screened in Caracas. The theater is, in fact, a moving bus; the audience members are young and middle-aged white-collar professionals.
The artist-run curatorial project HKJB favors art over concept. Their first show “Personal Abstraction” takes art away from a gallery setting and puts it back into a studio, in an effort to change the way we think about viewing and talking about art.
Contrary to some strains of popular belief, collectivism is artmaking not only with many but for many.
“In a sense, our recent history has been whitewashed; that temporality is in a lot of my work.”
In 1972, the art collective known as Ant Farm constructed a time capsule by filling a refrigerator, which they described as the “open door to the American dream,” with such everyday cultural artifacts as candy bars, magazines, fake eyelashes, and a television.
Translation, like any public act, must be strategic to have any effect.
Even though—or perhaps because—it’s such a small country, Lebanon has been swept up in a number of major geopolitical encounters over the past 200 years.
Los Carpinteros are a Cuban trio who create sculptures and large-scale public works all around the world. They have established their reputation as itinerant artists who juggle cultural assumptions by making architectural forms and structures that reflect upon our constructed cityscapes.
This First Proof contains Thomas Bolt’s selection of work by Alliance Poets Jeffrey Gustavson, Edwin Frank, and Andy McCord for this poetry portfolio.
Robert Gober talks to anonymous collective Gran Fury about their incendiary art and the task of exposing inequality and hypocrisy in our society.