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Issue 105 Fall 2008
For almost 30 years, Stephen Mueller has created paintings that defy categorization. At once abstract and suggestively figurative, minimal, sensual, and self-referential, Mueller’s enigmatic works intrigue the intellect and satisfy the eye.
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Janet Cardiff takes elements of cinema and places her audience within its borders, transposing us into the realm of the subliminal. The Paradise Institute, her simulation of the sensorial cinematic experience, was a hit at the 2001 Venice Biennale.
>>>A poet who has taken his work into the realm of performance, not as spoken word, but as classical Greek theater, Cornelius Eady charts the African-American experience.
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Notorious, enigmatic post-Soviet mythmaker (and acclaimed novelist) Victor Pelevin tells interviewer Leo Kropywiansky, “Thoughts are justified in two cases: when they swiftly make us rich and when they fascinate us with their beauty.”
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Laurie Sheck’s poems, in which the mythical becomes a piercing and appropriate lens on the modern, have been included in two Best American volumes, three Pushcart anthologies, and garnered glowing reviews in the wake of three published collections.
>>>With humanitarian rather than political aims, Mohsen Makhmalbaf’s Kandahar (2001) was intended to focus on the plight of women in Afghanistan under an oppressive regime. Then came September 11th, and Afghanistan was thrown into the spotlight.
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Every guitarist—Marc Ribot notwithstanding—who has ever heard the legendary Bill Frisell play, has wondered how he manages to produce notes that swell in volumes as they sustain, instead of steadily fading as they do on everyone else’s guitar.
>>>Considering architect Steven Holl’s many renowned works, his national and international reputation have clearly been confirmed. Art critic Joseph Masheck and Holl discuss analog, metaphor and Malevich.
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