If the experimental French writing group Oulipo were to be reborn today, would they return as performance artists? Anne Garréta’s 2002 Prix Médicis–winning novel, Not One Day, marks her as a literary acrobat suspended between those who hold on to the group’s relevance and those who have let it go in favor of conceptual art practices.
Homebody, the title of Mike Goodlett’s first New York solo exhibition, playfully refers to his life of relative seclusion in rural Kentucky.
Lyle Ashton Harris’s work explores intersections between the personal and the political, examining the impact of ethnicity, gender, and desire on the contemporary social and cultural dynamic.
A love letter composed from a scaffold. Isn’t this the way we live now?
Woodchuck was wandering on a path through woods one day when his leg caught in some vines.
Weinstein elaborates on the sources behind his animated videos with Simmons, with whom he has previously collaborated. These range from telemarketing, Brecht, entertainment, and what Weinstein calls the “national pastime” of self-absorption.
“I’m somewhere between Bresson, Godard, and the NBA.”
Julia Guez on the pleasure and pain in Henri Cole’s new book of poetry.
Terence Gower’s latest video, New Utopias, is a lecture filmed in the style of a 1950s Walt Disney documentary.
Some images in life and art remain seared in one’s memory because of their sublime effect and power. Such images are found and masterfully constructed in the films of Cauleen Smith.
This First Proof contains the story “Theta” by Carolina Lozada, translated by Katherine Silver.
Kara Walker on the work of Mickalene Thomas. Accompanied by three works by Thomas.
Roberto Juarez on the way that Robert Brinker’s paper cutouts balance warm, Disney-like comfort with strident sensuality.
J. Reuben Appelman’s haunting poetry is a seduction, a balance sheet of individual experience, and a cosmic echo.
Nilo Cruz and I recently found an hour to sit down with a tape recorder in my office at the McCarter Theatre in Princeton, New Jersey.
Years before they met, Lorrie Moore made notes on Scott Spencer’s seamless and stunning novels. She pulled them out for this interview, pinpointing the author’s uncanny understanding of Freud and the vertigo of desire.