What I responded to in Berger—because the manner of his writing and its meaning or subject were a coherent piece—was his disavowal, his disengagement with power, and here I include using language as an instrument of power… Keep Reading
Engaged with art writing as I am, it is with some nervous reluctance that I ask myself, what is it? What is it that art criticism, art writing is supposed to do? Keep Reading
“I am not frightened of the truth. I am not afraid to tell a secret. But until now, words have been frailer and more cunning than I would have liked.”
–from Meeka Walsh’s introductory essay to Issue 136: Son et Lumière. Keep Reading
Édouard Levé wrote Autoportrait in 2005. It was followed by his book Suicide in 2007, and then by death at his own hand so shortly after. The English edition appeared in 2012, seamlessly translated by Lorin Stein, editor of The Paris Review, if you can say about a book of apparent fragments that it is seamless… Keep Reading
Meeka Walsh’s introductory essay to Issue 134, the all women issue.
Kim Gordon has just published her memoir, Girl In A Band (William Morrow, Dey Street, 2015) and the opening chapter is called “The End.” After 30 years Sonic Youth, the band she co-founded with Thurston Moore, whom she married three years later, was playing its final concert in a small town outside São Paulo, Brazil, in the rain. Their marriage of 27 years had just ended. The South American tour was a final commitment, the last one to be met as Sonic Youth… Keep Reading
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
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