Meeka Walsh’s introductory essay to Issue 133: we are monsters.
Growing up in Canada, I was quietly startled by the intake of breath when I would say the word “evil” to describe someone I knew. I didn’t use the term often, I assigned it carefully but I recognized its application was something that just wasn’t done and I kept the descriptive designation to myself. It’s different now. The term is broadly used to describe countless actions and the designation is received without accompanying questions… Keep Reading
Neil Farber Makes Connections
There is a playful sense of menace in Farber’s work. One blog entry includes a list of “Songs improved by replacing the word love with the word blood,” and among them is “Blood Me Tender,” a tune that reimagines Elvis Presley as a crooning vampire. The imminence of something that approximates tender bloodletting, and other kinds of chaos, is everywhere visible in Farber’s paintings and drawings. These activities are more genial than gruesome. Things forever teeter on the edge of some anticipated occurrence, the conditions and consequences of which are not immediately apparent. Keep Reading
Charline von Heyl and the Life of Painting
“You are aware of the fact that you are looking at something that you cannot describe: that you can only understand or not understand. So you are arriving at a knowledge that cannot be translated into words.” Keep Reading
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