Artists and exhibitions address the AIDS crisis.
Fashioning ersatz artifacts and museological displays, two artists dispense with individual authorship to inhabit the “speculative nature of history” with an eye on the future.
“I take myself, my drawings, and this little bundle of creative forces that is me, and I try to make a chemical reaction with the world.”—Swoon
On the eve of Signs of Empire, his current show at the New Museum, the British artist and filmmaker elaborates on how philosophy and the history of cinema have influenced his practice.
“I gave myself this education on my own eye and on my own instincts. I was trying to find a place of resonance.”
The artist talks about dismantling street advertisements and their infrastructure.
The artist talks about the genesis, composition, and execution of a recently completed work.
Featuring selections by Corina Copp, Max Galyon, Patricia Spears Jones, S.D. Chrostowska, Karl Holmqvist, Phillip Lopate, Mary Simpson, and more.
The Danish poet on corporeal poetics, pregnancy, and the influence of classical music.
Jewish identity and oppression, at home and abroad.
A Chilean American poet maps the troubling parallels between his native land under Pinochet and the present-day US.
An architect talks about her data maps of urban conflict from Brooklyn to Aleppo.
From Lagos to LA, a young painter’s images resonate with meaning, both personal and political.
Of the various collected objects in Cameron Rowland’s studio—a fluorescent orange work coat, a bundle of street-sweeper bristles, several pot-medal badges—the most abundant are books.
A lighthearted psychodrama about mommy issues and Hillary Clinton.
Artists generally fall into two groups: the makers (of objects) and doers (of activities). They survive, more or less, on the largesse of the art world.