The New York-based painter and video artist on the tragicomic nature of wannabes and scenesters.
Television and its simulations.
In the spirit of all Augusts, endured and half-remembered, some music-memory beach reading from two parallel realities.
The bed sheet as metaphor for the continuous field of consciousness
John Giorno’s influence as a cultural impresario, philanthropist, activist, hero, and éminence grise stretches so widely and across so many generations that one can almost forget that he is primarily a poet.
Satirizing the “late-capitalist late-patriarchy” in Catherine Lacey’s The Answers
The prolific New York lyricist digs into songcraft on the occasion of his new autobiographical album, 50 Song Memoir.
Friendship and the lies we tell ourselves in Zadie Smith’s Swing Time.
A few years ago, I drafted two linked stories, one about Kurt Cobain and the other about Raymond Carver. Both grew up in the Pacific Northwest. Both had fathers who worked at a sawmill. Both were, in one way or another, working-class kids.
Gabriele Beveridge has quite the eye for sad-looking models in posters—the kind of women who hawk things like hair dye and shampoo.
“They own their own image. In a world where image is everything, that’s a very serious kind of ownership.”
Meg Remy of US Girls talks to the former Sic Alp about anger, publicity, lyrics, and Roald Dahl.
Bond keeps expanding a performative repertoire that’s equally personal and political. On the occasion of V’s gallery exhibit in London, Episalla queries the self-designated “trans-genre artist.”
“I don’t think being a cynical, academically oriented deconstructor should stop one from being a wild and crazy performer.”
In the New York of a decade ago, the square inches of blue eye shadow, lip-disappearing moustaches, and ludicrously suggestive grapefruits dotting the pages of Soul Jazz Record Publishing’s history of disco record covers were still easily plucked from dollar bins and discarded curbside stacks.
Weinstein elaborates on the sources behind his animated videos with Simmons, with whom he has previously collaborated. These range from telemarketing, Brecht, entertainment, and what Weinstein calls the “national pastime” of self-absorption.