The social practice works of Bon and Tuazon take the form of functional interventions to address and educate about California’s water crisis.
A novel about queer rage, the 1990s club scene, and the intricacies of healing.
The novelist on her loss of faith, youth culture, cult leaders, and spending time with syllables.
Wry installations and revelatory sculptures blend art-making and activism in Chin’s unique practice of transformation.
Träd, Gräs och Stenar and the democratizing power of the riff.
Ward’s Jamaican roots and home in Harlem have been recurring themes in his numerous installations. He speaks with Jaffe about three key works.
North of Paris, west of Texas—Laster’s community-based social sculptures span cultures and continents.
For the past decade my sense of Bethany Ides’s work was based on hearsay, bits and scraps, or long distance perception.
Filmmaker Guiraudie on his upcoming feature Stranger by the Lake, a story of love pushed to extremes.
Chat Travieso on creating in New York City, his adaptation of the found object and the importance of an optimistic attitude to the future.
It’s a rare delight when a film makes a little-known, hermetic community that is bristling with traditions, customs, rules, and regulations come alive, transcending that subculture through its humanity.
Brian Rogers talks about reprising his performance piece Hot Box, the challenges of performing, and his compulsion to keep creating.
ABC No Rio as we knew it is no more—but its legacy lives on. Here Fred Paginton sits down with the legendary institution’s Steven Englander to reflect on the role of the activist art space and its next steps.
If your knowledge of the San Francisco collective Futurefarmers ends at the Twitter logo (which they designed in 2007), you’re in for a surprise. This multifaceted design team runs the gamut, both in terms of production and strategies of audience engagement.
In the summer of 1977, Suzanne Lacy traveled the great monuments of Europe and Latin America with a paint-by-numbers picture of Leonardo da Vinci’s Mona Lisa, which she gradually colored en route.
K.O.S., the Kids of Survival, coalesced around Tim Rollins in the early 1980s, a time of inclusion and shifting autonomy.
One of the most difficult parts about moving to New York City is finding a community.
One of my greatest motivations has always been to make those doors not depend on social conditions; to make them not a privilege but a right in a just society.