Assemblage, Bricollege, and the I: Saul Ostrow and David Pagel interview three women artists.
Shirley Kaneda talks to painter Philip Taaffe about his “unorthodox approach to painting”—his references and recalling of collage, cutouts, decoration and opticality and their synthesized, ambiguous results.
Untitled photograph with ink by Joe Andoe.
A woman travels from France to Los Angeles to visit her dying brother, “Oh, brother!” by Elena Alexander.
Silverberg and Scholder discuss High Risk; An Anthology of Forbidden Writings and reflect on the concepts of censorship, otherness, and transgression within literature.
Argentinian writer Luisa Valenzuela combines political satire with erotica in her stories and novels. Here, she confesses to Linda Yablonsky, “when I write I become a vampire.”
Lynne Tillman talks about her novel Motion Sickness, and how it addresses certain human experiences—writing, identity, love—like palimpsests.
Reena Jana talks to first-time director Jennie Livingston about her documentary Paris is Burning, which deals with issues of race, class, and gender in America.
Micheal O’Keefe and acclaimed character-actor Kathy Bates have lunch the day before the Golden Globes, where she wins the Best Actress Award for her performance in Misery.
Zhang Yimou speaks about his film Ju Dou, shot in vibrant technicolor, and how his adaptation differs from the “romanticism and expression of free will” of his previous work to depict the Chinese people in a more realistic light.
On the release of his debut album with Warner Bros. Records, Kid Capri talks with Lynn Geller about what it takes to be “New York’s greatest” DJ and rapper.
Craig Gholson calls Keith Reddin’s work “conspiracy plays”. Though his plays may be depressing, Reddin asserts they reflect an American way of life.
Architect James Wines discusses how projects by his firm SITE ride the line between the art world and the mainstream, environmental and technocratic interests, construction and deconstruction.
Five oil and wax on canvas paintings, Austere, Ostracism, Grace, Lisle, and Cease by Sean Scherer. This article is only available in print.
Large collage featuring Korean lettering, For Bomb by Christopher Lucas. This article is only available in print.
A woman meets several interesting characters on a bus ride, “In Nevada, Driving, the Remarkable Thing” by Jesus Ramon Rodriguez. This article is only available in print.
Two young people meet at a bus stop and spontaneously begin a relationship, “Maggie and Max” by Guy Gallo. This article is only available in print.
Several “black and white studio portraits of pairs- people connected by blood marriage, social, business or other ties,” Mixed Doubles by Teri Slotkin. This article is only available in print.
A student celebrates her birthday, “On My Birthday” by Benjamin Weissmann. This article is only available in print.
Poem presented in Russian and English (English translation by Larissa Lawrynenko), “Red Dream” by Maya Borisova. This article is only available in print.
Photograph titled Renovation by Rocky Schenck. This article is only available in print.
A man writes a letter and recalls his past summer, “Short End” by Klaus Kertess. This article is only available in print.
The narrator ponders past experiences in the Caribbean, “The Punishing Sun” by Liza Béar. This article is only available in print.
Three poems, “Harmony in Red,” “Ordinary Time” and “Radiant Child” by Tim Dlugos. This article is only available in print.
Three poems, “Poem for His Divine Grace, Swami Prabhupda, Founder of the International Society for Krishna Consciousness,” “Nagas,” and “Iowa City” by George Green. This article is only available in print.
Two Jane Creep drawings, and mixed media piece, This is a Letter Bomb, You Will Be Dead in 15 Seconds by Karen Kilimnik. This article is only available in print.
Two photographs of metal, grid-like structures, In Abstracto and In Abstracto #15 by Ariane Lopez Huici. This article is only available in print.
Two similar mixed media and enamel pieces on canvas, When Worlds Collide and Running Figure by Taro Suzuki. This article is only available in print.