Wolf’s film Teenage truncates the nuance and diversity of the source material, but offers flashes of individual introspection on a few historical figures.
Charles Simonds’s New York Dwellings and his mysterious absence from contemporary discourse.
In part one of a three part series, Katie Peyton discusses the origins of the Occupy movement in The Occupy Handbook.
Nick Thurston on how Kim Rosenfield’s Lividity and Steven Zultanski’s Agony both convert the long form poem into an act of hyper-objectification, and how both do so to brutally contemporary effect.
Back-dated art works, Picasso’s frustration, and the transnational creation myths of Abstract art.
David Behrman, Tyondai Braxton, and Karlheinz Stockhausen took New York City by storm last weekend. Nick Hallett celebrates their interwoven histories and relationship to the cosmos.
The revolutionary strategies of It’s No Good by poet Kirill Medvedev and the 2012 documentary Winter, Go Away!
Consciousness, a performance lecture by Marcus du Sautoy featuring music by James Holden and visuals by one of us at the Barbican.
Jacques Rivette’s Le Pont du Nord and Bob Byington’s Somebody Up There Likes Me are abstract in different ways, but for the same reason: lack of funds.
Sarah Gerard on the calculation of life’s value in Sam Savage’s The Way of The Dog and Joshua Abelow’s Painter’s Journal.
David Brody follows the trail of interwoven fiction, fact and art in Nabokov, Bruegel, Disney, Eve Sussman, Lech Majewski, and others.
After stumbling across the work of an anonymous, unknown poet, D. Foy became so enthralled and confused that he couldn’t keep himself from further investigation.
Brando Skyhorse peels away layers of presumed identities and discusses recent books about Native Americans.
Poet Raphael Rubinstein transforms Raymond Queneau’s Exercises in Style into a numerical formula.
Stephen Ratcliffe on the Michael Gregory’s “real” wide open spaces.
Nick Thurston considers some unavoidable problems with reading Ian Hamilton Finlay, the Scottish poet-gardener, seriously as a poet.
robbinschilds embark on a journey that straddles the mundane and the otherworldly in their latest two-part show, I came here on my own & Salzburggrubzlas, Grubzlassalzburg!
Choreographer Tere O’Connor’s work is grounded in multiplicity. Cassie Peterson explores its implications.
Sarah-Jane Stratford on the alternate history of Richard III.
Artist George Negroponte reflects on the under-appreciated work of Abstract Expressionist William Baziotes.
Few filmmakers have been as prolific and influential as Jean Rouch, the late anthropologist, ethnographer and godfather of cinéma-vérité.
In Beyonsense, Eurasian artist collective Slavs and Tatars channels its inner Zaum in a celebration of the twists of language across cultures, histories, and geographies.
Artist Harrell Fletcher reflects on a recent project at Tate and demonstrates the value of participatory engagement and social practice.
Sarah Gerard on life’s closing and Gerald Murnane’s fifth novel, Inland.
Ingredients for Keating Sherwin’s paintings? Canvas, brushes, paint, and, of course, cooking utensils.
Eskor Johnson spends a day in the life of The Love Child.
This year’s Havana Biennial breaks away from pavilions, focusing instead on conversations between regions.
Kathleen MacQueen travels to Kassel to immerse herself into the depths of dOCUMENTA (13).
Ryan Sheldon discusses the eclectic range of reggae films presented in BAMcinématek’s Do the Reggae series.
Sarah Gerard continues her investigation of the work of Clarice Lispector, tracing the Brazilian writer’s thinking about concepts of eternity.