It was a long period of peace, prosperity, refined sensibilities and national self-confidence. And crumpets.
“I liked thinking about the word occupy literally. To occupy something. To occupy a sensation or a history and then to be kicked out of it and be squatting near it and trying to reinvest in it.”
I like to think about what other people do when they’re alone. This is what I would really like to know about people, but I never know how to ask. Some people try never to be alone.
Notley’s body of work consists of over thirty-five collections of poetry and prose. To consider her oeuvre, in her interlocutor’s words, is to court “cerebral and sensory overload.”
Text messaging, parasexual literature, and psychiatry in drag.
When I arrived in London this past September to meet Adam Broomberg and Oliver Chanarin at their studio, the first thing we discussed was the power play between interviewer and interviewee.
The Polish artist recently mounted a new participatory installation on Hydra Island in Greece, where Nell McClister prompted him to talk about the core of his collaborative projects: community, experimentation, and spirituality.
The obsession with documentation and online sharing might have caused K8 Hardy to press pause on performing, at least for now. Hardy discusses, with poet Raines, the runway show she’s producing for the Whitney Biennial.
Novelists Siri Hustvedt and Simon Van Booy compare notes on topics ranging from temporal perception to “the soup of unconscious life” from which fictional characters arise.
I met Mickalene Thomas a decade ago at the Yale University School of Art and liked her instantly. She was a standout for her energy, drive, open–mindedness, and raw talent. For this interview I visited her in her Brooklyn studio where we were surrounded by a half dozen or so of her new paintings in various stages of development.
Only a few days are left before another birthday, and if I’ve decided to begin this way it’s because two friends, through their books, have made me realize that these days can be a cause to reflect, to make excuses, or to justify the years lived.
Josiah McElheny on how Holly Zausner’s videos explore the limitations of our physicality and “our struggle with the physical and psychic burdens of the body.”
“People think that when a poem works, it’s because of the lines of a great poet—Baudelaire, T. S. Eliot, Whitman, or whoever—but it’s not so. The lines, when they magically work, are the reflection of your mind. It’s almost like the poet is making a mirror that nobody can see.” John Giorno
Don Shillingburg on Beth’s Campbell’s room-sized installations involving talking, mass-produced household objects.
Richard Prince and the legendary architect and installation artist Vito Acconci on everything from pornography to childhood memories to films that make him cry in this fast-paced, in-depth interview from 1991.