Threads of Fire and Water and Gold

by Laila Pedro

ArtSeen

The roving art space We Buy Gold, which Joeonna Bellorado-Samuels opened in Bed Stuy in March, is successfully managing a tricky balancing act: it is seriously and coherently embedded in its space and moment, even as it resists barricading itself into a particular corner.

INCONVERSATION

THELMA GOLDEN with Joachim Pissarro and David Carrier

Art

Since joining the Studio Museum in 2000, she has organized exhibitions by Glenn Ligon, Chris Ofili, and Martin Puryear; three of her thematic shows are Black Romantic (2002); Harlemworld: Metropolis as Metaphor (2004); and Afro Muses (2005). She was appointed Director of the Museum in 2005.

Radical Empathy: A Manifesto for the 21st Century

by Taney Roniger

Books

This perennial problem of the rift between artist and audience is what laid the seeds for Odyssey Works, both the title of this wonderfully original and deeply affecting book and the name of the interdisciplinary performance group whose work it presents.

Adding Words to Phrases:
the conversation continues between Whelan and Brooks

by Jen George

Dance

February 28 marked the New York premiere of Some of a Thousand Words at the Joyce Theater, and another point in Wendy Whelan’s trajectory from New York City Ballet principal to contemporary dance collaborator.

A Vivifying Spectacle
Target Margin Theater’s Mourning Becomes Electra

by Amber Reed

Theater

Most of us already know something of Eugene O’Neill. His plays are as ineluctable as their characters’ poisoned fates; even if we duck The Emperor Jones in high school, we are caught later by our neighborhood troupe’s Anna Christie, or by the Broadway revival of Long Day’s Journey into Night that our parents believe might finally make us appreciate them.

Notes from the 2017 True/False Festival

by Jason Fox

Film

Where a historicist approach might chart an analytical course, connecting a film’s concerns with the particular social and political context in which it is located, here each film invites a reading of social conditions as an impression of form, a pattern of incriminating networks rather than as a stable background.

FROMTHE
CO-FOUNDER&ARTISTIC DIRECTOR

Dear Friends and Readers,

by Phong Bui

What have we gained from reading novels, books of poetry and philosophy, observing music and dance performances, watching films, or contemplating works of art? In each instance, a human experience is materialized and distilled as one distinctive expression that tells us something about the community and world we inhabit.

GUESTCRITIC

Reviews of relatively recent works of poetry and poetics, mostly by poets.

edited by Charles Bernstein

Illustrations by Drea Cofield.

CRITICSPAGE

Philippe Soupault, Lost Profiles: Memoirs of Cubism, Dada, and Surrealism by Paul Auster

Andrew Dodds, I, Sparkie by Derek Beaulieu

Erín Moure, My Beloved Wager: Essays from a Writing Practice by Caroline Bergvall

Daniil Kharms, Russian Absurd: Selected Writings by Charles Bernstein

Moez Surani, ةيلمع Operación Opération Operation 行动 Oперация by Christian Bök

Tom Raworth, As When by Miles Champion

David Antin, i never knew what time it was by Cecilia Corrigan

Adam Fitzgerald, George Washington: Poems by Samuel R. Delany

Gavin Selerie, Hariot Double by Johanna Drucker

Tracie Morris, handholding: 5 kinds by Craig Dworkin

J. H. Prynne, The White Stones by Peter Gizzi

Tonya M. Foster, A Swarm of Bees in High Court by Erica Hunt

Abdellatif Laâbi, In Praise of Defeat: Selected Poems by Pierre Joris

Simone White, Of Being Dispersed by Douglas Kearney

Barbara Guest, The Collected Poems of Barbara Guest by Kyoo Lee

Sawako Nakayasu, The Ants by Tan Lin

Keith Waldrop, Selected Poems by Mark McMorris

Édgar J. Ulloa Luján, Move that River to the Sea by Tracie Morris

Will Alexander, “Live at the Roosevelt Room,” Detroit, August 24, 2016 by Julie Patton

Martin Mueller, The Iliad by Bob Perelman

Mia You, I, too, Dislike It by Lisa Robertson

Cat Painters: An Anthology of Contemporary Serbian Poetry by Jerome Rothenberg

Alejandro Miguel Justino Crawford, Egress by Danny Snelson

Renee Gladman, Calamities by Juliana Spahr

Ted Greenwald, The Age of Reasons & Common Sense by Stacy Szymaszek

M. NourbeSe Philip, She Tries Her Tongue, Her Silence Softly Breaks by Elizabeth Willis

Susan Howe, Spontaneous Particulars: The Telepathy of the Archives by Mia You

ARTSEEN

The Power of Suggestion: Rhonda Wheatley by William Corwin

Threads of Fire and Water and Gold by Laila Pedro

Sputterances, organized by Sanya Kantarovsky by Stephen Truax

Vanishing Points, curated by Andrianna Campbell by Tim Barry

Doug Wheeler: PSAD Synthetic Desert III by Hannah Sage Kay

Turner’s Modern and Ancient Ports: Passages Through Time by Joyce Beckenstein

A World of Emotions: Ancient Greece, 700 BC - 200 AD by Sara Christoph

Nina Chanel Abney Royal Flush by Samuel Feldblum

Al Taylor Early Paintings by Tom McGlynn

Sue Williams by Jessica Holmes

Alexei Jawlensky by Jason Rosenfeld

Paul Chan Rhi Anima by Ian Cofre

Marsden Hartley’s Maine by Noah Dillon

Simone Fattal by Phillip Griffith

Merce Cunningham Common Time by Elliot J. Reichert

A Whole Culture:
The Institute of Contemporary Art, Boston's 2017 Foster Prize by Leah Harrington

Tattooed New York by Hovey Brock

EJ Hauser ME + YOU

by Stephen Truax

JOS DE GRUYTER and HARALD THYS Xanax Film Festival by Erin Sweeny

The Garden of Eden by Phong Bui

SANDRO CHIA by Jonathan Goodman

Nowhere to Go: Automation, Then and Now Part Two

by Jason E. Smith

Field Notes

On February 19, 2017, the New York Times ran a feature story on recent changes in the United States oil industry. The focus was on the recent “embrace” of technological innovation in the industry after the 2014 plunge in the global oil market.

The Weight of the World

by Avra Spector

Art Books

For Adnan, the job of an artist, regardless of form or medium, is to participate in that double attraction: both to hear and see the world actively, to meet and collide with it.

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