Future St. is set in an America in which homosexuality has triumphed over heterosexuality, cloning has replaced sexual reproduction, and California has seceded from the mainland United States to form the gay male state of “Clonifornia.”
Early film, nineteenth-century science fiction, and experimental musical languages serve a young artist’s explorations of race and our political present.
Alexander Weinstein’s debut collection, Children of the New World, presents us with a future absurd enough to be our own.
Buildings are big, expensive, and they have a tendency to stick around a long time. So what’s an artist who wants to disturb “the repressive architecture of bureaucracy and luxury” to do?
On Michel Houellebecq’s Submission
The artist Josiah McElheny has published two books that display his collaboration with artists, scholars, scientists and creative writers, offering a multitude of voices, speculations, fictions, and facts.
Cherubini describes her lush, material-based approach to clay and glaze as “baroque minimalism.” Braman visited Cherubini’s Brooklyn Navy Yard studio as she prepared for her fall exhibition at the Pérez Art Museum Miami.
Visions of utopia, smoking cigarettes, acting methods, and other disparate things that preoccupy this artist.
Andrea Ray speaks to Matthew Buckingham about 19th century sexual freedom, the caring economy and her recent exhibition, Utopians Dance.
Visionary artist and poet Gyula Kosice on how he has tried to reconcile “the language of the diction” and “the language of form, volume, and the kinetic.”
“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?”
Terence Gower’s latest video, New Utopias, is a lecture filmed in the style of a 1950s Walt Disney documentary.
Sussman’s remarkable new film, whiteonwhite:algorithmicnoir is an sci-fi narrative that constantly re-edits itself. The filmmaker talks to poet Yankelvich about outdated notions of the future, Malevich and Kazakh deserts.
The volume Imaginary Syllabi “includes writings which dream up, concoct and explore Utopian, fabulist, fantasy syllabi for potential imagined and real classroom endeavors.” Editor Jane Sprague discusses feral sites, mongrel schools, and the all-too-real labor conditions of American education.
Anya Jaremko-Greenwold on Magic Trip: a documentary pieced together from Ken Kesey’s original 16mm tapes of the Merry Pranksters’ drug-fueled journey across America in 1964.
Check out two exclusive videos from the collaborative artists and then read their discussion with Craig Kalpakjian, featured in Issue 115.
James J Williams III reflects on the A.I.R. Workspace Program at the Abrons Arts Center on the Lower East Side.
A artists on artists text on sculpture artist Jarbas Lopes by Luis Andrade, accompanied by three photographs of sculptures by Jarbas Lopes, the first titled Troca-Troca (Switch-Switch).