JOE KLARL is an Associate Books Editor at the Brooklyn Rail. He has written for the Rail on art, books, music, and film, and contributes to Interview Magazine. He currently writes and resides in The Bronx.
I wonder if, during your early career, you sought to discover the city through personal experience, actively embodying your politics as the Brooklyn Museum claims in Newspaper Fiction, or if you were just mada runaway kid venting through the papers.
There are mythic claims about Barbara Rubin: that she introduced Warhol to the Velvet Underground (she did), that she introduced Dylan to Ginsberg (she didnt), that she was beacon and keeper of the New York counterculture (maybe).
Jack White had the number-one album in the country last month with the beautiful, bereft Blunderbuss. The eccentric Whitewho imitated Cab Calloway at the turn of the last century, played a junkyard guitar at the Grammys, and used his increasing clout to produce records by living relics like Wanda Jackson and Tom Jonesis now, inexplicably, a bona fide star in contemporary pop.
Between 1945 and 1949 directly following World War II, thousands of Eastern Europeans were held in camps within the German city of Wiesbaden and the town of Mattenberg, a suburb of Kassel.
On a dreary Thursday afternoon I ducked into Housing Works in SoHo to meet with Christopher Bollen, novelist and editor at large of Interview. Over coffee, we escaped the rain and casually discussed the panic of Lightning People (Soft Skull Press, 2011), his haunting, ingenious debut.
Before the U.S. premiere of his documentary Marina Abramovic: The Artist Is Present, Joseph Klarl spoke with director Matthew Akers about the challenge of bringing filmmaking and performance art together.