A vision of the grotesque, our morbid fascination with violence, and the aestheticization of war…

“…the triptych painfully reminds us that the form today signifies a broken totality that can only be unified, at best, by an act of artistic creation.”

As if frozen in time, drone music has not developed as an art form since Young's Dream Houses, & has mostly been barbarized into a muddy ambience and cheap theatrics

It seems to have been forgotten, in recent years, that the basic relationship of the artist to the world in modernity is one of estrangement.

On the occasion of her first solo show with Make Room gallery, “A Tangle of Limbs and Long Hair,” Caesura editor Patrick Zapien conducted a brief interview with artist Shana Hoehn. A selection of work from the show follows.

“But what they do experience, artists will share. If the means of their art set limits, they will seek to move those limits.”

Visiting the Noguchi Museum recently, I was struck by the difficulty of sculpture as art: how it's constrained by its physical presence to a degree that other media, like music, painting, and poetry, are not.

Genese Grill's introduction to her forthcoming essay collection, Portals (Splice).

Is interactivity really the same freedom that art is supposed to help us access?

“Ah, but what if we — [gestures at the ‘painting’] what if it — were to invite nonsense…embrace nonsense…produce nonsense…even mean nonsense?”

We seek to utilize the force of our creative ability to fashion a world of our own or thereby change that which is given.

…the paintings’ true value resides in mediation as a process of transformation: in their voracity, boldness, and tact in transforming the original film stills.

The NFT phenomenon is a social, not technological, phenomenon emerging from the new money of the 21st century — the tech sector — working out its own culture and aesthetic tastes as an alternative to the self-critical or self-defeating aesthetic culture that has been dominant since the emergence of liberal society in the 19th century.

Better a handful / of calm than / two of clutching / at the wind….

There is a richness in color and fullness of form in these works that drew me into them immediately, and held me there. Within them, colors and shapes seem to crumble and grind together, the complexions plow through each other and themselves.

It’s hard to be the Museum of Modern Art when the modern has become a thing of the past and a rather suspect thing at that.

But what of the museums themselves? The artworks, their placement, the hallways, the exhibits, the choreography of passing through?

The layered surface cascades into itself as quickly as it interrupts itself. It vibrates like a field of electricity, full of chaos and psychedelic apparitions, and yet is held together by an arresting unity which appears to emerge at once from above and below — that is, it appears as calculated as it does spontaneous.

“small e for entropy / big S for Sacraments”

The artist Tom Leaver is a painter who dons rubber gloves, dips his fingertips into the palette, and spreads gestures across the canvas. To him, it is an act of meditation, the procession of time throughout a day distilled into an image.