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Like a breath of fresh air, Dutch photographer Maurice van Es’s now will not be with us forever provides a welcome alternative to the haze of apathy, distrust, and sarcasm that permeate contemporary media and visual culture.
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Bernie Krause has listened to nature since 1968, and in his decades recording environmental noise has become attuned to its changes.
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Dutch artist Piet Mondrian lived a nomadic life, caught between the two World Wars, and he transformed each new studio and home into a reflection of his current practice.
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So serene an entry point into this volume, the title One Morning—. promises the lengthening of sunlight across the expanse of a modest domestic existence, incidents without excitement.
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Ben Mazer may best be considered a poet for poets; his work a fortress against the common reader.
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What is known with certainty about an artist’s life story can undoubtedly shed the light of understanding on his or her achievements and legacy. But what happens when authoritative historical documents, personal letters, photos, diaries and other materials have not been consulted or are scarce or ev
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One current, and especially heated, debate animating the contemporary poetry scene revolves around conceptual poetry’s polemic against Romantic expressivity.
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This past spring, the Danish Museet for Samtids Kunst acknowledged the hard-won singularity of countryman Jacob Kirkegaard by granting him his first solo exhibition, Earside Out.
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In Long Red Hair, Meags Fitzgerald examines conversations that helped shape at how she looks at herself, as well as the difficult road to her coming out as queer. Dean Haspiel's Beef with Tomato looks at his life as an artist and, in his words, a voyeur peering into the lives of other people on his
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On the cover of Taryn Simon's Contraband is the corpse of a bird of prey, its body contorted over a nondescript envelope that was marked "home décor" and on its way from Indonesia to Miami, Florida, when it was seized at New York's John F. Kennedy International Airport.
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Poet, pianist, and visual artist Anne-Marie Levine’s collected memoir, Reculer Pour Mieux Sauter: The Complete Works Volumes 1–12 (Project Projects), takes the form of a collaged scrapbook.
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When I was a child, I made obsessive drawings of schoolgirls and created elaborate personal histories for each of my characters. Imbuing my silent drawings with stories was a form of entertainment, and is, for me at least, one of the most enjoyable aspects of writing about visual art.