The fish survive all that radiation, whatever is a go-pass beyond poison. / Snow falling off at a slant from the scientific station / ice adaptations that lead to the new normal. / An owner’s manual under a concrete donut, in its hole someone has planted a baby cactus.
Sculpture inside and outside the institution.
I planned to write a book about / the color blue. Now I’m suddenly surrounded / by green, green gagging me / pleasurably, green holding onto my hips / from behind, digging into / the cleft, the cleft // that can be made.
A globe-hopping novel ruminates on drift and disaster.
On a crisp morning in March, we approach the site. It appears in the distance on the windswept beach just as the sand gives way to dunes. The ocean roars to our right.
If novelists could tell the story of climate change, they might spark the action scientists are calling for in order to save the planet.
This year’s Architectural League Prize for Young Architects & Designers convenes work that probes an “unstable environment.”
“If this is what this material does now, just treat it as a positive thing.“
Painter Scott Olson on stumbling upon materials, the Ohio art scene, and the importance of frames.
Terence Gower opens the gray flannel cover of Stan Allen and Marc McQuade’s Landform Building, an architectural manifesto that rethinks “organic” as “geologic.”
Nearly six years ago, after a long day of wandering Chelsea in a daze, I walked into 303 Gallery looking for a good painting show and instead had my first Aitken encounter.
Independent filmmakers Alison Maclean (Crush) and Todd Haynes (Poison) talk about genre busting in Haynes’s feature film Safe, about a woman who turns to New Age cures for an environmental disease.