Hagerty recounts his journey from Pussy Galore to Royal Trux to his current incarnation as The Howling Hex. Their new album is The Best of the Howling Hex. It’s not a greatest hits compilation.
Lisa Yuskavage’s paintings of buxom, verging-on-grotesque beauties invariably provoke and taunt the viewer. She spoke with Mónica de la Torre about the revelation of her outsize personality in her work.
Eisenman founded the seminal Institute for Architecture and Urban Studies in 1967. Since then, his architectural practice has been in intense dialogue with critical theory, grappling with Derrida’s debunking of a “metaphysics of presence.”
Clifford Owens spent the summer performing scores written by fellow artists at his PS1 studio. With Nick Stillman he looks back at the history of black performance art and forward to his exhibition Anthology, coming to MoMA PS1 this fall.
Goldsmith’s UbuWeb is the largest free archive of cross-disciplinary avant-garde art online. His latest books, Uncreative Writing: Managing Language in the Digital Age, and Against Expression each propose tactics for writing in the 21st century.
Dyer’s The Missing of the Somme, a meditation on the Great War, is just out in the US. The writer discusses Tarkovsky’s Stalker, literary digression, The Man Without Qualities, and more with one of his biggest fans.
Biggers has three shows this fall: an “introspective” at the Brooklyn Museum, a solo show at SculptureCenter, and an exploration of African diaspora imagery at MASS MoCA. He discusses lineage and American history with fellow artist Terry Adkins.
Sussman’s remarkable new film, whiteonwhite:algorithmicnoir is an sci-fi narrative that constantly re-edits itself. The filmmaker talks to poet Yankelvich about outdated notions of the future, Malevich and Kazakh deserts.
Novelists Siri Hustvedt and Simon Van Booy compare notes on topics ranging from temporal perception to “the soup of unconscious life.” Van Booy will read at our Summer Launch Party at powerHouse Arena in Brookyln on July 27!
Smith discusses Afrofuturism and its struggle with memory with photographer Leslie Hewitt.The artist’s Sun-Ra-based exhibition The Journeyman is up now at threewalls in Chicago.
Natalia Almada was just named a MacArthur Fellow. In BOMB 116 she discussed her film El Velador, and her motives for filming in a cemetery in Culiacán, Sinaloa.
Belgian-born, Mexico City-based artist Francis Alÿs describes how sparse scripts lead to maximal artistic results. His new work, including the film REEL–UNREEL is on view through February 9 at David Zwirner gallery.
Scott Shepherd, narrator of the Elevator Repair Service’s GATZ and actor in The Wooster Group’s version of Vieux Carré talks shop with playwright/director Richard Maxwell.
Kenyan writer Binyavanga Wainaina chronicles the multiplicity of his African upbringing in his debut memoir, One Day I Will Write About This Place with Tin House’s Rob Spillman.
In a conversation with the legendary British folk singer-songwriter Roy Harper, Joanna Newsom talks about the harp, her personas, and her predilection for California. Available online for a limited time only.
Mickalene Thomas on the influence of Romare Bearden, David Hockney, Matisse, and Carrie Mae Weem’s “Mirror, Mirror on the Wall . . . .” Her show Origins of the Universe is on view now at the Brooklyn Museum.
For Alejandro Cesarco, meeting fellow Uruguayan and conceptualist Luis Camnitzer had a mind-altering effect. The artists discuss art education as a form of benign manipulation and Camnitzer’s survey at El Museo del Barrios, up through May 29th.
Musician and composer Robert Wyatt, renowned for his vocals and complex blends of pop, jazz, and world music, bridges the generation gap with the emerging “first lady of Arabic hip-hop” Shadia Mansour.
The two playwrights and performers on the drawbacks of being in constant production mode versus the pleasures of, and requirements for, the incubation of plays: a dose of folly and wonderment.
Berlin-based painter Katharina Grosse sees infinite potential in the marriage of imagination and projection. Her work is on view now at the MOCA Cleveland and at the High Museum in Atlanta.
In the ambitious stories in Shepard’s latest collection, You Think That’s Bad, psychological insight is derived from the characters’ exposure to extreme duress. Shepard discusses his short stories with fiction writer Christie Hodgen.
Sebastián Silva’s black comedies The Maid and Old Cats made the Chilean filmmaker’s name. His new film, The Crystal Fairy, starring Michael Cera, opens in New York on July 12.
Joe Fyfe tells painter Josh Blackwell about his involvement in abstraction as a by-product of loss and the wabi-sabi discovered on his travels to Vietnam, Sri Lanka, and Bangladesh.
Writer Thomas Pletzinger and New York-musician Sufjan Stevens on life on the road, their favorite brooklyn haunts, and Pletzinger’s novel Funeral for a Dog. From issue 115, on newsstands now!
Sarah Michelson, who has been awarded the 2012 Bucksbaum Award by the Whitney, contemplates, with fellow choreographer Ralph Lemon the gaze and juxtaposition of seasoned dancers with young girls.
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.