Tracing the lineage of feminism and social justice in postmodern dance.
Katie Peyton on the satisfying artifacts of truth in Kristopher Jansma’s The Unchangeable Spots of Leopards
“History has shown that universalism is a step away from totalitarianism—a deadly kind of erasure that I find horrifying. The fear of fascism undermines my sensuous relationship to those things. I often wonder, are there any other alternative aesthetics?”
I met Jimmie Durham the day after the opening of his retrospective at the Musée d’Art Moderne de la Ville de Paris in February of 2009.
In paying homage to Ed Ruscha’s Twentysix Gasoline Stations, Sowon Kwon’s book project dongghab suggests a connection between nascent American postmodernism and violence.
Peter Eisenman prefers Milan to Istanbul. He is an architect and theorist whose work is firmly grounded in the European classical tradition from the Italian Renaissance to the present.
David Varno reflects on the Charles Olsen documentary Polis Is This: Charles Olson and the Persistence of Place.
Based on a workshop and exhibition at the Banff Centre in 2007, Informal Architectures is more a compilation of documents (artist statements, interviews, and articles by workshop participants and exhibitors) than a typical work of architectural history or criticism.
“My dream was a synchronized sound of present, absent, and distant musicians choreographed across the audience via the elaborate placement and movements of the performers in the whole building.”
In his new collection of critical essays, writer Alan Gilbert leads a probing, borderless investigation into countless contemporary moments in aesthetics that recognize, inhabit, resist, essentially interact with the realm of the social.
In his introduction to Arkadii Dragomoshchenko’s new book Chinese Sun, Jacob Edmonds posits the book’s most pressing question: Can something be central if it is marginal and arbitrary?
Mauricio Kagel’s seminar in Aix-en-Provence, France, in the summer of 1981, sponsored by the organization Centre Acanthes, was a turning point in my life.
I’ve known Jeffrey Eugenides for several years and in several contexts—first as one of his readers, then as a student of his at Princeton, and now as a friend
The crowd at the December, 2001 opening of Liz Larner’s show at the Museum of Contemporary Art in Los Angeles was enormous.
Steven Holl likes to wake up early in the morning and begin his projects with pencil, paper, and watercolors. This freehand working up of an architectural space perhaps serves as a clue to the sometimes idiosyncratic results.
The Bohen Series on Critical Discourse. John Elderfield, Chief Curator-at-Large of the Museum of Modern Art, speaks with philosopher David Carrier about Matisse, Mondrian, Prud’hon and contemporary theories of taste and interpretation.
Luminary William H. Gass speaks about his recently published epic The Tunnel, which took 26 years to complete.
Michael Bidlo shares his relation to the “masters” as a copyist of the Modernist canon and at times looses himself in the process, not sure even of his own voice or thoughts at times.
I. The One You Weren’t Waiting For
Hi Gilby. I have seen the face of God.