Pulitzer Prize–winner Rae Armantrout on her new book of poetry, Money Shot, and its dealings with value—in life, porn, and capitalism—through an email exchange with poet Ben Lerner.
Pendleton, whose new work is on view now at Pace Gallery, discusses the connection between civil protest and live art with poet Thom Donovan.
The Bug is Kevin Martin, the influential London-based musician/producer who, under the spell of the voices and rhythms of Jamaican dancehall, helped spawn a new era of dance-floor experimentation—as told to Jace Clayton.
Painter Richard Hull interviews artists Jim Nutt and Gladys Nilsson in their Chicago home. Check out an audio excerpt from their conversation about El Greco, Chicago Imagism and the Hairy Who.
Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives, won the 2010 Palme d’Or at Cannes. Lawrence Chua talks to the filmmaker about Thai history and its ghosts.
Paris-based novelist Tristan Garcia, a philosopher by training, speaks with another philosopher, Sandra Laugier, about how ideas, ethics, and sex get entangled through the vivid characters in his first novel, Hate: A Romance.
Feinstein talks with fellow painter Lieberman about The Estate of Rochelle F., a project for which she utilized only materials already present in her studio. Her new work is at On Stellar Rays through April 28.
Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.
German artist Von Heyl’s puzzling paintings rely on what she calls “cringe factor.” Fellow abstract painter Kaneda uncovers the unstable tendencies and surprising juxtapositions at the core of Von Heyl’s work.
Charlie Smith’s latest novel, Three Delays, is an account of the partings and reconciliations of two lovers on the fringes of the American mainstream. In the course of their conversation, Reed and Smith agree on one point: redemption is an illusion.
Shields, author of the much-debated book on appropriation, Reality Hunger: A Manifesto, used the epistolary method, via email, to discuss the influence of California’s counterculture on Tomaselli’s visionary paintings.
With human-rights activist Sameer Padania, British psychoanalyst and prolific essayist Adam Phillips free-associates on topics addressed in his new collection, On Balance: fundamentalism, excess, and the shortcomings of liberalism.
No-Neck Blues Band’s Keith Connolly queried David Toop on inchoate listening, eavesdropping, and the uncanny—as contemplated in Toop’s new book, Sinister Resonance: The Mediumship of the Listener. From the current issue, BOMB 114, Fall 2010.
Hirschhorn’s site-specific, hyper-saturated installations enjoy what he calls “wastefulness as a tool or weapon.” His work is currently up at Gladstone Gallery.
Artist Rottenberg builds mini-factories for her video sets, where fetish workers produce elemental products such as lemon-scented sweat and maraschino cherries. Her work is up at Mary Boone through 12/18.
Bremer’s information-packed networks drawn over documentary photographs are like snapshots of his mind. Taken from multiple angles, they imply brainstorming, reminiscing, hallucinating, musing, brooding, dreaming, reflecting, and automatic doodling.
Listen to a podcast of a post-show discussion with musician/performer Cynthia Hopkins and playwright Craig Lucas, recorded live at Soho Rep on May 20, 2010, as part of their FEED series.
Elizabeth Streb’s performance One Extraordinary Day recently thrilled London. Novelist A.M. Homes and the action heroine discuss overcoming gravity in a conversation from Summer 2010.
A Visit from the Goon Squad is Egan’s fifth book; its polyphonic structure mirrors the undeniable fact that characters, like people, are central to themselves yet peripheral to others.
Jessica Jackson Hutchins’s sculptures reference the human body in all of its dumb charm and joyful habits. With Horodner she reflects on Levinas, contingency and Chinese scholar’s rocks.
Beginning with the mostly solo Horn of Plenty, Droste’s ringing vocals catapulted Grizzly Bear to the fore of Brooklyn “freak-folk.” Ironic, then, that here he recalls being initially afraid to sing, even for himself.
Jonas—a pioneer of video and performance art—will perform a new work, Draw without Looking, on February 28 at the Tate in London. The piece will be broadcast live online.
The final poignant interview with the prolific, irrepressible, and—to anyone who met him—unforgettable New York artist Dan Asher, who passed away of Leukemia on April 23, 2010
In her most recent theater piece, The Truth: A Tragedy, Hopkins tackled her father’s deterioration. Annie-B Parson rolled the dice to find out how Hopkins converts her demons into one-woman productions blending music, dance, fact, and fiction.
To fellow author Wainaina, Mabanckou is a leading writer amongst those building bridges between a divided, postcolonial Africa. For his novel Broken Glass, Mabanckou wrote the Congolese oral tradition into French.
For Bernstein poetry constitutes in equal measure play of voices and verbal art. Jay Sanders speaks with the poet and essayist upon the release of his volume of selected poems All the Whiskey in Heaven.
Photographer Collier engaged the filmmaker with banter on the allure of buried legends Marie Antoinette and the Mitford sisters, obsolete film stock, and old gay New York.
Reygadas—who just won Best Director at Cannes for his new film Post Tenebras Luxis more interested in his actors’ presence than their technique. He discusses why feel-good movies make him feel bad with Jose Castillo.
Lipsyte’s abrasively funny protagonists, holy schlemiels, according to fellow novelist Christopher Sorrentino, reel between stasis and crisis—never more so than in his latest The Ask.
If you’ve heard singer-songwriter David Sylvian’s indelible voice, you’ll share cult guitarist Keith Rowe’s desire to place it. Here they focus on the recent Manafon, their joint journey into the outer limits of popular song.