The Puerto Rican punk-DIY performance collective on challenging institutional norms for making theater.
The life of mutant-pop songwriter Peter Ivers was really something.
The late poet on his artistic influences, leftist politics, and reading to anarcho-punks.
The sound artist on musical prejudices, metal t-shirts, and shortwave radios.
Two artists drawing from punk, graffiti, and traditional Native American aesthetics, talk about protest art and the notion of the “Post-Smithsonian delinquent.”
The collaborators on riots, punk, Richter, and the new book Now that the audience is assembled.
Club 57: Film, Performance, and Art in the East Village, 1978–1983 at the Museum of Modern Art and The Mudd Club book.
A selection of recently reissued music by Basil Kirchin, High Rise, Michael Cosmic, and Phill Musra Group.
Remembering Mike Kelley.
Slow-cooked verbiage in Flarf: An Anthology of Flarf
The book reopens questions about appropriation, intellectual property, and colonialism that followed Sun City Girls throughout their career, and also situates these questions within an increasingly globalized and digitized twenty-first century.
The prolific New York lyricist digs into songcraft on the occasion of his new autobiographical album, 50 Song Memoir.
From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.
“Activism always involves a kind of coalition building, but the kind of community art is capable of building extends further, to the dead and the unborn.”
We make music from joy and rage. We are flamboyantly nice and really angry.
“Dub was my sound because of postcolonial movements. I grew up in it. I bathed in it. I breathed it. So why shouldn’t it be mine?”
“If this is what this material does now, just treat it as a positive thing.“
“We insist on repeating moments of liberation, as a kind of sustainable practice.”