“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.”
Cinematic choreography and the art of showing, not telling.
Chaotic performances, live recordings, and Generation Tween.
Wolf, whose new film Teenage is out now, on the invention of the teenager and how our obsession with nostalgia may be helping our innovation.
Michael Schmelling made a book called Atlanta, a photo book about the Atlanta hip-hop scene. Then Richard Maxwell wrote a review of it.
I stay in the car under the streetlight while Jerome goes to find the dumpster girls in the tree shadows.
In 1985, Sandy Denton and Cheryl James were working dead-end jobs at Sears when Hurby Azor, a coworker and audio production student, asked for help on a college project.
Montana Wojczuk tries to understand mumblecore and Laurel Nakadate’s new film Stay the Same, Never Change.
John Wray’s novel Lowboy has been out for a few weeks now, and the media attention has been universally enthusiastic.
Montana Wojczuk reviews Cary Joji Fukunaga’s Sin Nombre.
In the summer of ’99, after I failed to land an unpaid docent gig at the Art Institute of Chicago, I fell into an internship (paid!) with Rick Valicenti, a weird and brilliant artist and graphic designer based in Barrington, Illinois (where the high school’s sports teams are the Broncos and the Fillies).
By 8 AM my older brother, the cracker, has me in a suit, in his car and on the way to the
Nancy Barton on how Sue de Beer’s video installation Black Sun explores death and effectively and empathetically channels the teenage experience.
Japanese director Kiyoshi Kurosawa has made nearly 30 films, all of which have been seen by musician and producer Jim O’Rourke. Lesser known in the US than in Japan, his films are mesmerizing, visually stunning narratives with international relevance.
DAVE: You’re fuckin’ up, man.