Minimalism
Partly inspired by the Greek surrealist Yorgos Makris’s 1944 manifesto, “Let’s Blow Up the Acropolis!,” Christos Chrissopoulos’s novella, The Parthenon Bomber, sets out to imagine just what might lead a young man to write himself into history by blowing up an ur-symbol of Western civilization.
If you’ve ever taken a course about modern and contemporary art history, chances are you know that Minimalist sculptor Donald Judd wrote the lively essay “Specific Objects” in 1965. But you may not know that Judd wrote throughout his thirty-five-year career.
Whether you’re drawing a straight line or zig-zagging through the history of American Minimalist music, there is one person you’re bound to meet.
“Every time you remember something, it’s not like you’re being teleported to the past—you’re actually physically experiencing it in the present.”
Architectural space, intermedia, and the artistry of kinesis.
Nostalgia for the future, bluegrass, and hating the term “minimalism.”
It was a relationship that, from the outset, was not fated to last. She knew that.
It was not so long ago and not so far back in the last century that the minimalist composers were the “bad boys” of modern music.
A painter colleague, Fabian Marcaccio, uses a phrase to describe a certain kind of artist. He says that they are “long runners.” Stanley Whitney is a long runner.
Ostrow visits Feher at his Bronx studio, where he muses about his past, contemplates his future, and pinpoints the exact moment when he discovered to be an artist meant to believe “I was right, even when I was wrong.”
The Malian songwriter on the origins of his hypnotic desert blues.
BOMB revisits the work of Jonathan Lasker. Here the artists discusses his early painting with Amanda Valdez.
“But here is what is most important to me—throwing myself into the present, the unanswerable, the unknown, the unquantifiable.”
Jennie C. Jones’s art reflects on the cultures of sound and music in a visual context. In recent years, she has presented cerebral and imaginative responses to what she calls “the physical residue of music,” using strips of audiotape, bits of wire, instrument cables, cassette casings, or handfuls of earbuds
