A Chilean American poet maps the troubling parallels between his native land under Pinochet and the present-day US.
Two interdisciplinary artists tackle the analogies between artistic, moral, and monetary value.
On genre, influence, and getting weird in fiction.
Filmmaking as a collective project.
Voices in the countercurrent, gentle satire versus jugular-vein satire, and the material world of growing things.
Handzo, a former editor of BOMBlog and a protégé of the recently passed Sarah Charlesworth, remembers his mentor.
Fiona Maazel on her second novel, Woke Up Lonely, and how its apocalyptic themes of loneliness and emotional isolation are reflected in its unique, fractured structure.
Greenbaum on the fundamentally personal and private process of creating art, and how modernism, rage and rebellion fuel her creativity.
Phillip Lopate has had a good year, publishing To Show and To Tell: The Craft of Literary Nonfiction and Portrait Inside My Head. He spoke with Sharlin about humor, honesty, and his identity as a native New Yorker.
In the early ’70s, Fitzgibbon made a series of radical films and then put them aside. P. Adams Sitney begins to unravel the story behind Fitzgibbon’s early, seductive flicker films to her latest iPhone movies.
Stan Allen’s seminal essay, “Field Conditions,” written almost 15 years ago, still resonates among architects. He confers with Nader Tehrani on landscape urbanism as well as building and teaching “from a position of uncertainty.”
Tim Seibles on teaching, privacy, and his National Book Award nominated Fast Animal.
Sarah Gerard on Existentialism, relationships, and Alexander Maksik’s You Deserve Nothing.
“You feel so guilty about copying yourself, about using yourself as a reference, that at times it’s easier to swipe things from others.”
“The first level of risk is very private; most of the time I feel I’m writing against a silence, against a taboo, against what has not been written; and if it has been written, there’s no reason for me to write it.”