Editor's Message From The Editor
Summer Break
I’m on-leave for the next few issues, in order to work on a political campaign. The Rail will continue to roll just fine in the meantime. See ya on the streets or at the beach, or somewhere in between.
—T. Hamm
All hail Atticus Rossa McDermott Cole, born May 31, 2005.
Congratulations Meghan and Williams! A Rail diaper baby…
RECOMMENDED ARTICLES
Joan Snyder: The Summer Becomes a Room
By William CorwinOCT 2020 | ArtSeen
Snyder wraps this body of work in an overwhelming sense of acceptance and gratitude for the cycles of nature: the seasons, life and death, day and night, morning and dusk. Overall this seems a positive reckoning; her palette is bright and harmonious, and it’s hard not to get a boost from looking at it.
Grace Notes: Pam Tanowitz and Simone Dinnerstein’s New Work for Goldberg Variations
By Rachel StoneFEB 2020 | Dance
The ushers at the New York City premiere of choreographer Pam Tanowitz and pianist Simone Dinnerstein’s New Work for Goldberg Variations at The Joyce Theater warn me that the program is 75 minutes—75 minutes!—with no intermission. It’s possible they have to tell me this, but either way, the length of Bach’s “Goldberg Variations” (which, apocrypha alleges, he composed in 1741 as an anti-Scheherazade to help an insomniac count finally sleep) intimidates.
Looking Back, and Forward, as Ma-Yi Celebrates 30 Years of Innovative Work
By Billy McEnteeMAR 2020 | Theater
The Obie and Lucille Lortel award-winning theater company started out in 1989 producing solely the work of Filipino American writers; while that has evolved, so has the theater’s definition of what a “Ma-Yi play” is. And that’s a strength: in a company whose ethos and blessings are fortified by its creators, each new playwright brings with them—to Ma-Yi’s numerous productions and artistic programs—their own world and experiences to expand and delight the company’s evolving landscape of thought-provoking, envelope-pushing American plays.
Printmaking and Studio Work
DEC 19-JAN 20 | Critics Page
I have difficulty imagining what my work today might be, or look like, if I had never made prints. I take for granted so much of the experience made possible by the printing process that subsequently circled back into my studio, that I find it impossible to sort it all out and remember, let alone understand, what comes from where.
