Winter 2014

Witschi’s intricate methodology inspires his paintings, his digital image archive, and his musical notation.

Althoff engages multiple art modes—from painting to making music, as a band member of Workshop and under the pseudonym Fanal.

On sculpture’s theatricality and refusal to become image.

The author of Cunt Norton and the forthcoming TV Sutras on how to mess with the poetry canon.

Cuba’s detective-fiction author spins an epic tale on Trotsky and his assassin in The Man Who Loved Dogs.

On Siegel’s film Provenance and its insertion into the global circuit of art and design objects.

The virtuoso jazz guitarist on unhinged sonic excursions.

Poet Brenda Coultas on visual artist Elana Herzog’s collapsing of narrative in her cutaways.

Greenbaum on Jon Pestoni’s multilayered paintings.

Liotta on Raha Raissnia’s complex interaction with the fugue.

An epistolary exchange between art critic David Geers and painter Peter Rostovsky on the role of painting in contemporary culture.

Pedro Costa’s scrapbook for his film Casa de Lava frames his work as a collage of his cinematic vocabulary.

Janice Lee’s new novella Damnation is a collection of fragments that chronicle the unraveling of a village and language.

Philippine filmmaker Lav Diaz’ Norte, The End of History slowly unspools a complex and troubling, but often beautiful, narrative.

Janine Antoni’s exhibition Within constructs a metaphor for the building of the human body.