Years ago, desperate to find a babysitter in a short period of time, I joined two local parents’ groups on the web and remained subscribed to them long after my situation had been resolved.
The prospect of a physical music anything is dicey at best in the year 2017, which makes frozen reeds’ choice to bring out Roland Kayn’s A Little Electronic Milky Way of Sound—an object containing sixteen compact discs of nearly fourteen hours of previously unreleased material—respectably audacious.
Like his older compatriot Mark Leckey, Atkins deftly utilizes syncopated montages of sounds and filmic images to create disturbing and disorienting virtual realities.
An architect talks about her data maps of urban conflict from Brooklyn to Aleppo.
I don’t remember when Amy and I first met—it must have been in the mid ’90s. However, I do remember that she saved my life by being one of the few artists who genuinely seemed to admire and enjoy what I was doing at a time when my work was barely known.
At 25, Tristan Perich is obsessed with machines; music has been a part of his life since he was conscious.
Saul Ostrow on how Jon Kessler’s sculptures and installations explore the aesthetic and the role of technology and mass media in our lives.
Musician, electronic composition innovator, and MacArthur fellow Lewis has been documented in more than 120 recordings as well as numerous installations and written texts. He talks with Parker about where improvisation and politics intersect.
When British sound artist Kaffe Matthews thinks about sound, she thinks about space, time, travel and radios strapped to bicycles. Her approach to making music is based on sampling her surroundings and capturing their sonic personality.
Early this summer I went to the opening of Bill Albertini’s piece Memory Index (1999–2004) at the Alona Kagan Gallery in Chelsea.
One stormy night this summer in New York, I trekked over to Steve Reich and Beryl Korot’s place to see and hear their new video opera, Three Tales
According to America’s longest running poet laureate, Robert Pinsky, “a poem’s medium is one human voice.” His Favorite Poem Project had the denizens reading out loud nationwide—a true vox populi.
In Janet Zweig’s kinetic sculpture there are uneasy juxtapositions between the ancient and the modern, the mechanical and the emotional, the playful and the dead serious.
Calligraphy drawn from the age of satellites beaming and technology blaring, Keith Sonnier’s sculptures, urban neon and country trash, fuse the detritus of popular western culture with the suggestiveness of eastern imagery.
Truly a cyber-era artist, Monique Prieto’s bold, colorful abstract paintings are composed on the computer. Their emotive quality relies on the traditional triangle of the eye-hand-brain. BOMB contributing editor David Pagel finds out how it all connects.