Questions of Practice: Graphic Artist Marian Bantjes on Textual Embellishment
Graphic artist Marian Bantjes talks about how embellished text can provoke engagement with the reader.
Text Made Visible in the Works of Self-Taught Artists
Brooke Davis Anderson, an expert on self-taught and outsider artists, reflects on how embellished text is often found in these artists' works.
Just Say It or Think It and It Is So
Hendricks reminisced about his career beginnings and how he resisted the magnetic pull of New York after graduate school.
Marginal and Contemporary
Artist Peter Saul reflects on his artistic career, his formative years living in Europe, and his (dis)connection from the Pop art movement.
When Are We Contemporary?
On the occasion of Barbara Kasten: Stages organized by the Institute of Contemporary Art, we invited dance pioneer Anna Halprin and revered artists Barkley L. Hendricks and Peter Saul to reflect on their contemporaneity and answer the questions, "Who gets to be a contemporary artist? When? And why?"
"Whose Passion Are We Hearing?:" On Mendelssohn's Revival of the St. Matthew Passion
Dr. R. Larry Todd comments on the significance that the multiple interpretations of Bach's St. Matthew Passion engender for different generations.
"Pictures and Props:" An Excerpt from Barbara Kasten: Stages
Barbara Kasten: Stages curator Alex Klein explains the significance of staging and props in Kasten's work, in this catalogue excerpt.
Susan Bernofsky on Artists as Translators
Susan Bernofsky discusses the practice of artistic translation.
From "An Art of Refusal: Lucinda Childs' Dances in Silence, 1973–78"
A Steady Pulse: Restaging Lucinda Childs, 1963–78 is a dynamic reexamination of the early dances of one of America's most influential contemporary choreographers. In this excerpt from the forthcoming multimedia online publication, dance critic and historian Suzanne Carbonneau reflects on beauty as refusal in Childs' work.
Approaching psychylustro
Painter Dushko Petrovich offers his perspective on Katharina Grosse's epic psychylustro—a five-mile-long "painting" sprayed intermittently along a stretch of train tracks in northeast Philadelphia.