A collection of short fiction drawn from the periodical "Between C & D." Edited by Joel Rose and Catherine Texier. Introduction by Joel Rose and Catherine Texier. Essays include: "Self-Portrait in Twenty-Three Rounds,"; by David Wojnarowicz; "Witness," by Lisa Blaushild; "Subject: Petri Ganton," by Rick Henry; "Male," by Kathy Acker; "George: Wednesday, Thursday, Friday," Dennis Cooper; "The Fedora," by Catherine Texier; "Dirty Windows," by Peter Cherches; "Camera Obscura," by Susan Daitch; "Negrophobia," by Darius James; "Case History #179: Tina," by Tama Janowitz; "I Am Candy Jones," by Gary Indiana; "Summer Flying," by Lee Eiferman; : "Things to Do Today," by Reinaldo Povod; "Plagiarism," by Joan Harvey; "The Loft," by Don Skiles; "Dead Talk," by Lynne Tillman; "The Woman in the Shadows," by Roberta Allen; "Lush Triumphant," by Patrick McGrath; "Temple to the Economics of Love," by Craig Gholson; "You Can Keep Your Razors & Guns But Check Your Loud Mouths at the Door," by John Farris; "Duke and Jill," by Ron Kolm; "All the Men are Called McCabe," by Emily Carter; "A Visit from My Mom," by Bruce Benderson; and "The Sunshine of Paradise Alley," by Joel Rose. ... [details]
Issue edited by John Coplans. Essays "Jo Baer: Notes on 5 Recent Paintings," by Carter Ratcliff; "Utopia/Anti-Utopia," by Leon Golub; "Keith Sonnier: Video and Film as Color-Field," by Robert Pincus-Witten; "Richard Serra: Sculpture Redrawn," by Rosalind Krauss; "An Interview with Composer Steve Reich," by Emily Wasserman; "London: Roeluf Louw," by Kenneth Baker; "Grids," John Elderfield; "The Films of Harry Smith," by P. ... [details]
"How can an art exhibition function as a stand-in for the artists and their studios? How can a gallery project provide greater insight into an artist's practice, the way the formality of a slide lecture or the intimacy of a studio visit can? How can the back-story of the work on display be understood, without being solely reliant on a curatorial statement, catalogue essay or press release? This exhibition allows art to be understood as an ongoing and slippery practice, and less the finite, linear and object-oriented one assumed by the standard exhibition format. ... [details]
Issue edited by Ida Panicelli. Essays "Ground Up: Herbert Muschamp on Paper Architecture," by Herbert Muschamp; "The Cave: Hilton Als on Gus van Sant's 'My Own Private Idaho," by Hilton Als; "Troubleshooters: Maurice Berger on Todd Haynes' 'Poison,'" by Maurice Berger; "Undertone: Ann Marlowe on Platonic Rock," by Ann Marlowe; "Real Life Rock: Greil Marcus' Top Ten," by Greil Marcus; "Commedia Dell'Arte: A Project for Artforum," by Krystine Kryttre; "Media Kids: Terri Sutton on Bad-Girl Cartoonists," by Terri Sutton; " Green Dreams," by James Wines; "Famous Changes at the Last Minute," by Thomas McEvilley; "Domestic Blitz: The Modern Cleans House," by Carol Squiers; "Barcelona (Tumbling) Apartments: A Project for Artforum," by Luc Deleu; "No Place Like Home," by Elizabeth Hess; "Panoramic View: A Stretch-camera Project for Artforum," by Richard Serra; "Sigalert: A Stretch-camera Project for Artforum," by Pat Ward Williams; "Home Boys," by James Lewis; "Julio Galán's Memories of the Future," by Max Kozloff; "From the Tunnel Project," photographs by Margaret Morton, text by Terry Williams; "You Can't Leave Home Without It," by Mira Schor; "Openings: Maria Eichhorn," by Bojana Pejic. ... [details]
