By Joanna Grasso
I had just moved to the desert and was getting acclimated. The locals were a motley crew, including international writers, healers, tree whisperers, scroungers and bird watchers. At a local gathering, someone mentioned a site in Joshua Tree full of junk transformed.
By Susan Logoreci
It is my first trip to Montreal, and I am trudging through a freezing cold February day, in a borrowed coat, scarf wrapped around my face, to the MAC (Musée d’art contemporain de Montréal)…
By Seth Hawkins
In a city with the motto “Keep Austin Weird,” The Austin Contemporary—known for its avant-garde, edgy programming—has renovated its flagship, the Jones Center. From January through March 2014, the Jones Center hosted artist Charles Long’s massive collaborative installation “CATALIN,” a true Gesamtkunstwerk combining sculpture, music, scent, light, kinetics, video, theater, and new technology into one spectacle.
By David Pasek
“Terrestrial architecture must learn from extra-terrestrial architecture” says space architect David Nixon, “as today’s architecture consumes pure products and leaves waste.” Nixon reminds today’s architects to concentrate on the basic human needs; for example, on housing concepts that could be erected in disaster areas within hours. He also dislikes architecture that reduces the task to formal questions.
By John Haber
After fifteen years, millions of internally displaced people, and well over five million dead, the earth itself should have turned to blood, or so it may seem in The Enclave, an aching, unnervingly beautiful video work by Richard Mosse whose subject is war in the Democratic Republic of the Congo.
By Seph Rodney
The motif that filmmaker Amei Wallach uses to lead viewers into her film Ilya and Emilia Kabakov: Enter Here is the Kabakovs’ anxiety. She shoots them in staccato glimpses . . .
By Liliana Rodrigues
LR – I understand that your new work is done in three-days per painting. I am curious about this time constraint you impose on yourself. In the past, fresco painters had to deal with the properties of freshly laid wet plaster and pigments; thus, they were forced to paint quickly. What does it mean for you, as a contemporary painter, to set a time constraint on yourself?
