“The book can draw in different audiences without catering to them. There’s a kind of rigorous hospitality, an aperture for dialogue.”
The first thing my Godsent said when I came through the door was, “I think I have this damn thing on backwards.”
“Our bodies are graveyards of cells, the source of art, inherently finite, constantly decaying.”
The performers consider memory, autobiography, and stand-up in Truscott’s groundbreaking comedy about rape, Asking for It, showing this November at NYU’s Skirball Center.
Chris Kraus and Douglas A. Martin conjure the iconoclastic author.
Upcoming shows, retrospectives, and museum openings highlighted by Maika Pollack, Ratik Asokan, Alex Zafiris, Gideon Jacobs, Michael Barron, Wendy Vogel, Zack Hatfield, and Legacy Russell
“I don’t want the kind of career where everything is sensible and safe; I’d rather suffer through the anxiety of wondering where I’m going next than suffer the boredom of dancing in the same safe square.”
Writing with the body as her touchstone, the novelist channels a woman warrior in The Book of Joan.
Reliable uncertainty in Deb Olin Unferth’s Wait Till You See Me Dance
We listen in as two painters talk painting, studio practice, and the way their works live out in the world.
The actors chat about performing masculinity, transitioning, and Blackwell’s one-person show They, Themself and Schmerm.
The author’s first novel is set in Mexico City, but its themes of violence, grief, and solitude are truly global.
Through sewing, weaving, and embroidery, two artists probe the boundaries between texts and textiles.
“I grew up having to sing along to very patriarchal, male, straight viewpoints—lyrics that had nothing to do with me.”
“It’s not really subversion, it’s catching something before it becomes what we’re accustomed to.”
“What can’t I be in São Paulo that I could become in New York?”
It’s Corey Haim here—‘80s heartthrob, teen idol, and tragic girlish boy next door. What’s up, Schmerm?
“Radical spaces can generate and evolve ideas and tactics, some of which cross over into mainstream culture—and need to.”
“In my work, there’s an awful lot of screaming to be heard.”