Art In Conversation
New Yorkers are fortunate to have living among us the wildly inventive and far-ranging Australian-born public intellectual and theorist McKenzie Wark. This spring he added two new books to his robust list of titles produced since 1994: the dauntingly original Molecular Red: Theory for the Anthropocene (Verso, 2015), and the deeply personal I’m Very Into You (Semiotexte, 2015), made up of email correspondence between him and Kathy Acker during a brief but intense affair in the mid-’90s.
Film In Conversation
From the late 1960s through mid-’70s, the ten-member collective Videofreex produced several thousand videotapes, installations, and multimedia events, and trained hundreds of video-makers in the brand-new medium.
The Venice Biennale of 1990 was the first of manyevery Biennale since, to be precisethat I’ve written about, and I was prompted to look back after returning from the 2015 edition.
Geoffrey Scott, in his seminal work The Architecture of Humanism (1914), said that “the art of architecture studies not structure in itself, but the effect of structure on the human spirit.”
Sheila Callaghan is one of my favorite living playwrights. I can count these playwrights on one hand. In a theatrical landscape dominated by after-school specials, on-stage television pilots, exposés of rich families, and nonsense musicals, Callaghan’s work eschews any category.
André M. Zachery thrives in collaborative settings. Back in June I saw Wildcat! Assembly, his collaboration with Jeremy Toussaint-Baptiste and Eleni Zaharopoulos, at JACK.
From the Publisher & Artistic Director
While keeping up with the daily demands of our monthly journal, its editorial meetings, our Rail Curatorial Projects, our poetry readings, and other events, we have all been consumed the entire summer with the renovation of our old headquarters in Greenpoint as well as of our new one at Industry City in Sunset Park, making them both the most comfortable and conducive work environments.
Editor's Message Guest Critic
In the last Whitney Biennial a significant percentage of the works on view took as their subjects actual historical episodes or addressed earlier moments in the history of art. This is different from artists grappling with and working out of tradition, which is how art gets made at any time.