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Issue 103 Spring 2008
THE BOMB BLAST
In conversation, Tuymans and Marshall—collaborating on an animation project scheduled to be completed in late 2007—alternately agree and disagree on the function of an artwork, its meaning and imperfection, and the frozen world within the painting.
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“I start with an uneasiness. Somewhere a pattern’s undersung.” Thus is Heather McHugh inspired to one of her witty, contradictory, perspicacious, sometimes bawdy, always sense-soaked poems.
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Poet Susan Wheeler has two new books out: Ledger, which received the Iowa Poetry Prize, and her first novel, Record Palace. Award-winning author Robert Polito finds out how a poet crosses over.
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Well known in the art world for her distinctive videos and performance pieces, Miranda July is quickly expanding her audience. Writer Rachel Kushner examines the lineage of common themes and recurrent imagery in July’s body of work.
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Artist William Wegman has been an early music aficionado since he was a graduate student in the mid-’60s. when he met George Steel, the Miller Theatre’s impresario who started the encyclopedic Composer Portrait Series, they had plenty to discuss.
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Over the past four decades, Tony Conrad’s legendary work in minimalist music, experimental film, and video, has been seminal in the development of those art forms. Conrad continues to make radical, humorous, provocative pieces today.
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Edge Theater Company produces unequivocally complex new American plays that bring a provocative mix of dark humor and ardent wit to bear in their exploration of life’s messy contingencies. Carolyn Cantor directed their latest, Orange Flower Water.
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From his investigation of maritime space to his extensive travels to world seaports, Allan Sekula’s trajectory transforms and connects domains that aren’t usually compared. His practice has extended from photography into filmmaking and recently, curating.
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