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Issue 105 Fall 2008
Mary Heilmann’s life’s work has stretched across two coasts and three generations, from Berkeley’s hippies to New York’s ‘70s bohemia to the yuppified ‘90s. Her retrospective is on view from October 22 to January 26 at the New Museum in NYC.
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Artists James Hyde and Archie Rand discuss the joys of cooking, Kline’s epitaph for Pollock, Warhol’s unconscious and the art of redemption in their favorite hideout—a hometown bar in Brooklyn. We listened in.
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Years before they met, Lorrie Moore made notes on Scott Spencer’s seamless and stunning novels. She pulled them out for this interview, pinpointing the author’s uncanny understanding of Freud and the vertigo of desire.
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Alan Warner’s down-dirty characters and Scottish vernacular won him a Somerset Maugham Award for his book Morvern Callar. Amy Hempel e-mailed her queries about home and memory to the “utterly stylish” former railway worker.
>>>Law professor Kendall Thomas talks to the director about Hallelujah!, her documentary on the controversial performance artist Ron Athey. Thomas and Gund-Saalfield hash out the questions of religion, pain and pleasure Athey’s performances provoke.
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Cassandra Wilson’s sophisticated jazz riffs cover everyone from Hank Williams to Miles Davis to the Monkees. Poet and music wiz Glenn O’Brien steals a téte â téte with the chanteuse not long after a night club appearance at New York’s Blue Note.
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Coco Fusco gets to the bottom of Elevator Repair Service’s avant-garde theater performance style: old movies, exuberant dance and controlled chaos are layered onto such varied sources as Tennessee Williams, Berlitz language tapes and Andy Kaufman.
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Zoë Wanamaker’s performance in Sophocles’s Electra brought New York audiences to their feet every night in 1999. Catharsis never had it so good. Film director Bette Gordon talks to the legend.
>>>Architect and writer Carlos Brillembourg visits Brasilia to meditate on the cities spontaneous history and its place in the pantheon of contemporary urban planning.
>>>Betsy Sussler talks time, abstraction, certainty, and the unknown in the gestalt works of George Negroponte.
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