Hearing in the Present Tense: On La Monte Young's Orphic Revolution
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
The Lonely Eye
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.
Recombinant Reels: Reassessing Jurassic Park’s 3D Revival
Is it possible Jurassic Park’s innovative special effects overshadow its true artistic depth?
Blackest Black Birthday
“She’s trying to paint me into a corner with her question mark army. She’s wanting to light my pants on fire. She seems super mad at me.“
Crisis of Criticism
Why is it that so much writing on art today — ostensibly criticism — only skates on the surface of artworks, providing description, identifying a handful subjects and themes, maybe some precedents, and then a conclusion — or rather, an ending. The writing stops.
Gnostalgia for the Present
The 17th series in the ongoing collaboration between George Quasha’s preverbs and Susan Quasha’s photographic work.
Joy: we believe: we don’t believe anymore
Marguerite Duras’s essay “Joy: we believe: we don’t believe anymore” (1977) translated by Mia Ruf
Sense and Non-Sense
The main problem that the artist encounters at work — the source of all their woes and triumphs — is that materials must be transformed: made to give what they cannot. Appearance is the mask of the true face beneath.
Painting as a Scaffold
The most recent idea that appeared to me, so insistently that I felt compelled to write it down, was of painting as a scaffold. This was related to an older idea of mine, of painting as a veil . . .
What was Post-Internet?: An Interview with Ann Hirsch and Parker Ito
“I wanted to connect to people who were like-minded but also saw this as a new frontier with a lot of possibilities for art making.”
A Dialogue on Music
Bret Schneider and Omair Hussain discuss musical composition and their albums Drunk Walks and What Goes Away.
Two of Knives and Sinistrose Poem
here the vicious ribbons hiss, swanning
their hypnotic cursive dances, as if were calligraphic curses.
thither the come-hither flickers and quick slithers back.
The Unadorned Life is Not Worth Living
Genese Grill reviews Henry van de Velde: Selected Essays, 1889–1914.
Gravel, Cheesebox, Hideout
Darksome, tenebrous, smoked, obscure / the gloam-time, sable-vested, fumid / hour of the witch / the gathering of storms / she wrote poems good as anyone’s / becloud, bedim, mirksome, engloom / when the moon’s dark / caliginous, somber / it’s a blind man’s holiday / eclipsed / embalmed
In Conversation with Elisa Jensen
Caesura editors Patrick Zapien and Gabriel Almeida talk to Elisa Jensen about her practice.