Vitiello and Roden are often mistaken for each other. It might have something to do with their early interest in punk, Cage’s influence on their work, and their sound-based collaborations.
Cruzvillegas discusses his most recent installation and how his experiences as a citizen of Mexico fuel the unstable, contradictory nature of his sculptures.
Musician and composer David Grubbs collaborates with improvisatory artists—including C. Spencer Yeh—to attain an unrepeatable quality on his new album, The Plain Where The Palace Stood.
Greenbaum on the fundamentally personal and private process of creating art, and how modernism, rage and rebellion fuel her creativity.
Matías Piñeiro makes intricate films that play with literature, history and language. His Shakespearean Viola opens on July 12 at the Film Society of Lincoln Center alongside a retrospective of his films.
Fairport Convention helped to bring traditional music into British folk rock back in the ‘60s. Connolly traces Thompson’s evolving style from his Fairport days to his latest solo album, Electric.
In Gangloff’s latest paintings, student protesters at Cooper Union (her alma mater) loom large. With sculptor Masnyj she discusses her path of becoming a painter of her peer group.
Phillip Lopate has had a good year, publishing To Show and To Tell: The Craft of Literary Nonfiction and Portrait Inside My Head. He spoke with Sharlin about humor, honesty, and his identity as a native New Yorker.
Fiona Maazel on her second novel, Woke Up Lonely, and how its apocalyptic themes of loneliness and emotional isolation are reflected in its unique, fractured structure.
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.”
Read the original Spanish language text of this conversation.
Katrín Sigurdardóttir’s sculptures and installations merge embodied experiences of place with conceptual constructions of space. She reflects with poet Eva Heisler on the early memories that inspire her work.
In the early ‘70s, Fitzgibbon made a series of radical films and then put them aside. P. Adams Sitney begins to unravel the story behind Fitzgibbon’s early, seductive flicker films to her latest iPhone movies.
Rachel Kushner’s latest novel, The Flamethrowers, is out now. Kunzru focuses on the novel’s relationship to the ‘70s art world and Italian politics during the time of the Red Brigades.
Enrique Vila-Matas’s characters include James Joyce, F. Scott Fitzgerald, Ernest Hemingway, Paul Auster, and even Enrique Vila-Matas. The Catalan author talks with Meruane about his distinct method of interlacing reading, writing, fact, and fiction.
Stan Allen’s seminal essay, “Field Conditions,” written almost 15 years ago, still resonates among architects. He confers with Nader Tehrani on landscape urbanism as well as building and teaching “from a position of uncertainty.”
Federico León’s recent Las multitudes was staged last year in Argentina. For Richard Maxwell, the playwright-director’s production is a “brokenhearted humanity tale.” A heroic one, at that, with 120 actors.
Whitney’s answer to painting’s “hard times,” was composing with color as a jazz musician plays with themes and variations. Whitney’s show Other Colors I Forget opens at Team Gallery on April 11.
Opposites attract—one looks to the past; the other looks to the future. One paints; the other everything but. A dialog of overlapping engagements beween Dawson and Genesis BREYER P-ORRIDGE.
Feher pinpoints the exact moment when he discovered that to be an artist meant to believe “I was right, even when I was wrong.” His new work is on view at Diverse Works in Houston from January 19 to March 16.
Artist John Pilson talks to seasoned provocateur Alix Pearlstein about her ability to create conflict and tension between the camera and viewer in her video work.
Fanny Howe on “looking up from under,” religion, and Radical Love, a collection of her most important, most experimental, novels.
Mark Z. Danielewski on the shapes, colors, music, and musicality of literature.
Romanian new wave director Mungiu’s Beyond the Hills, is a naturalistic tale of escalating tension between a young nun and her visiting friend (and former lover). The film is out now.
If ensemble theater group Rude Mech’s ethos was a draw for Radiohole’s Dyer, their bacchanalian re-creation of the Performance Group’s Dionysus in 69 clinched the connection.
Artist and curator, Legacy Russell, chats with artist Oscar Murillo about painting, parties, and the duality of meaning in his work.
Muhly chats with fellow composer, and Pulitzer Prize winner, David Lang about his recent work, love fail, and his uncanny ability of capturing deceptively complex emotions in his music.
McElheny’s blown glass work explores the unrealized potential of utopian projects through allusion and deconstruction. Josiah McElheny: Towards a Light Club is at the Wexner Center in Ohio through April 7.
Multi-media artist Raven discusses her interest in the technology and labor behind the moving image, and her new project at the Hammer Museum, with Jason Simon.
Translator Grossman and Manrique discuss the writer’s early influences, the importance of history, and his most recent novel, Cervantes Street.