the collection appears not like a traditional collected stories, but rather a book grouped thematically by time and subject matter more so than genre or form. Beaulieu explains that much of Nichols fiction was written while we was working as a therapist, The pages of Nights on Prose Mountain are populated with Oedipal nightmares, violent sexual and emotional tension and abuse, relationships in crisis, menages a trois, murdermuch of which is described in a way that may be shocking to a twenty-first-century readership. This is the stuff of crisis.
Throughout this lyrical and poetic photobook, which combines Ricketts own words and images across 80 elegant pages, the photographer and writer circles around the subject of her research like a constantly moving stream of water, allowing narrative fragments to float to the surface before they sink away again.
Suzanne Lacy: We Are Here provides a rich introduction to Lacys practice and raises a number of critical questions over authorship, display, language and form within Lacys work specifically and social practice more broadly.
Changes telegraphs the sustained themes of the prominent 20th-century choreographers non-representational dance practice, emphasizing by way of its fragmented form his maverick interests in collaboration, pedagogy, technology, chance-based methods, and ephemeral experiences that occur in relation to the written form. Cutting together extensive notebook entries overlaid with instructions for individual dances, photographs, theater programs, movement charts, and assorted notations by members of his cohort such as his longtime partner John Cage, the project registers as a working example of his methodology, in which sound, visual elements, and movement could be independently and suggestively developed in close proximity on stageor in this case, on the page.