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.
“I never wanted to be a performance artist.”
I first encountered Andra Ursuta’s work at her show Solitary Fitness, at Venus Over Manhattan, in New York City, in 2013.
Being a provocateur, Planet of the Apes, and the “wow” factor of Cuban Art.
While the now-accepted wisdom is that Bertolt Brecht was one of the major dramatists of the past century, this same acceptance often tends to obscure the most unique aspect of his work, namely: his struggle through the decades to find new ways to present his deep political and social commitment—not just in his subject matter, but, equally, in the formal strategies of his distinctive theatrical form.