Labor of Love: Lauren O’Neill-Butler on the art of fierce pussy
“fierce pussy’s speech is always excitable, its politics always performative and ahead of the curve.”
The Invisible Village: Sasha Frere-Jones on the music of John Zorn
“Even if someone is creating sound by rubbing a matchbox against a drum head, that creation represents both a value and a choice. Whether composed or improvised, such notes are strikes against death, laid out in time.”
Forces of Nature: Graham Bader on the art of Thomas Struth
“These notations are reminders of the excesses and imperfections—above all, those of the body’s own processes and desires—that lurk at the heart of technological reason.”
Return to Sender: David Teh’s dispatch from Thailand
“Thailand’s artists, like its popular culture, have run the gamut from slavish devotion to ingenious (and ironic) integration, but the rejection of foreign styles or techniques has never been their thing.”
And: Mychal Denzel Smith on Jordan Casteel’s Mom Hand; Wayne Koestenbaum on the art of David Gilbert; Jeffrey Weiss, Carolee Schneemann, and Simone Forti on Robert Morris; Thomas Beard on Andy Milligan; and Amy Taubin on Steven Soderbergh’s High Flying Bird.
Plus: Canada Choate on the writings of Catherine Christer Hennix, Celeste Olalquiaga on Paul Virilio’s Bunker Archaeology, Dan Nadel on “Hairy Who? 1966–1969,” Barry Schwabsky on Raoul de Keyser, Du Keke on the 12th Shanghai Biennale, and Precious Okoyomon shares her Top Ten.