Selected, with an introduction by Seph Rodney
The poems of Nina Pick selected for this issue of The Nomadic Journal demonstrate the powers Pick brings to the page: some poems are acts of startled witness, others confessional quests for comprehension, still others describe the movement of the speaker toward a romantic other…
By Gail Levin
Impulsively, on September 14, 2007, Sajitha rolled up some paintings and caught the train for Delhi, nearly fourteen hundred miles from home, where the language, Hindi, was unrelated to her own. She lacked enough money to live and was too proud to ask anyone for help….
By Gail Levin
Sajitha R. Shankhar is the rare living woman artist from the South of India to have multiple works in the National Gallery of Modern Art of India. Yet there was no context for her ambition in her family or the traditional south Indian life. Journalists and critics have both praised the autobiographical strain in Sajitha’s art and argued that her work goes beyond her own story.
By Niña Weijers
There were two reasons why the situation didn’t depress me too much. First there was the proximity of the water. I’d often walk over to the bridge opposite the Maritime Museum, where I’d lean against the railing … the water was as drab and impervious as the cargo ships sliding through it. Sometimes I longed to live on such a ship, although I couldn’t tell you why. The second reason was an obsession I’d developed for the other side of the street. It consisted not of houses, but of a long, not very high wall.
By Éva Forgács
Hungarian artist Miklós Erdély (1928–1986) would not have thought twice about boarding a spaceship, sweeping aside physical fitness and other pedestrian worries. Space seemed to promise first-hand answers to urgent and intriguing questions… Thinking more like an artist than a scientist, Erdély was taken by the dilemma of black holes, which could signify the same kind of discontinuity in time and space that he thought artwork signified in culture.
By Bansie Vasvani
Built, World investigates architecture and structural forms as articulations of injustice and longing. For some artists, freedom from oppression is expressed through their constructed worlds, while the impact of loss and displacement reverberate through some of the strongest works in the show.
In the spring of 2015 The Nomadic Journal encountered the eclectic collage works, painting and poetry of Guy R. Beining. Since the 1960s, Beining has published thousands poems, as well as dozens of collections of poem-novellas and chapbooks, and has had his artwork gracing the covers of zines and literary magazines.
By Seph Rodney
Around each bend in the Guggenheim rotunda, Alberto Burri’s works give off the scent of free-form experimentation, worked by both the elements and the will. He applied heat, flame, pressure to disparate mediums; he ripped and tore fabrics, allowed substances to dry, crack and fissure, all the time attentive to the process as well as to what could happen if something in the formula were changed. It seems counterintuitive that being so careful and particular, so watchful, would be tantamount to liberty for Burri. But his independence conspicuously reveals itself here.
By Andrew Patrizio
Artist Rona Lee has realized a remarkable series of works through constructions of her extended engagement with oceanographic research. In addition, Lee takes on the mantle of the ocean as a metaphor for the female body that can point us in new directions, above and beyond, or perhaps through, the notion of an art/science encounter and into a subtly feminist art discourse.
Just weeks after his historic zero gravity flight out of the Yuri Gagarin Cosmonaut Training Center in Star City, Russia, Nomadic Journal editor Carrie Paterson had the pleasure of interviewing Nahum, the Project Director for the massive art exhibition La Gravedad de los Asuntos (Matters of Gravity).
The Nomadic Journal 