“Politics are always there, it’s inescapable. If you’re going to be a really good artist, it’s got to be there, because it is there.”
Cinematic choreography and the art of showing, not telling.
“I don’t think being a cynical, academically oriented deconstructor should stop one from being a wild and crazy performer.”
I took the morning TGV from Poitiers to Paris on January 15th to ask Etel Adnan a question. She was about to receive France’s highest cultural honor, the Ordre de Chevalier des Arts et des Lettres. Her collected writings are imminent with Nightboat Books, and she has been the late star of Kassel.
Keating Sherwin paints large, sculptural oil paintings of women. Preferring cooking tools to paintbrushes, Sherwin’s process is one of the most fascinating aspects of her work.
April Bernard began Miss Fuller to explore the pathos of Margaret Fuller’s short, freethinking life.
When the children were small, they would often play their grave resurrection games back behind the prickle bushes at the Winterbear Montessori School.
This First Proof contains five poems by Kirsten Kaschock.
Martha Wilson’s solo exhibition, I have become my own worst fear, is up at P.P.O.W. gallery through October 8th. Lauren Bakst delves into the many faces of Martha Wilson, examining their relationships to the passing of time, the embodiment of aging, and the intertwining of the personal and political.
Cameron Shaw draws from examples in explaining her own connection to Lisa Pearson’s collection of work by female visual artists and writers.
As rioting continues in the UK, Bhanu Kapil’s first book, The Vertical Interrogation of Strangers, now published ten years ago, feels as relevant as ever, giving us a chorus of voices talking about dismemberment and change.
A poem made for Roni Horn out of the titles of five of her sculptures.
This First Proof contains the story “Theta” by Carolina Lozada, translated by Katherine Silver.
Known for sparkling conversation, provocative novels and essays, and the fame and diversity of her lovers, Madame de Staël was, as Francine du Plessix Gray persuades us in her perceptive biography, “the first modern woman.”
Elka Krajewska on Paulina Ołowska’s rebellious videos and installations.
For Rose to Be We Need a Celebrity
In a library with at least eleven windows
“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.”
. . . Castro’s coming down from La Sierra Maestra wasn’t the first time Batista fled the island, señores, no. T