Overture: Ridding the Passing Moments of Their Fat
Art historian Robert Farris Thompson has maintained a passion for Afro-Cuban dance and music since experiencing, in 1944, a conga line in his hometown of El Paso. Here, he tracks the spiritual, linguistic, and musical roots of mambo.
Grace McCann Morley
Berit Potter pays homage to the ardent museum leader who transformed San Francisco’s relationship to modern art.
A Mythology of Forms: A Conversation about Carl Einstein
The first English-language anthology of Carl Einstein’s writings on art, comprising fourteen texts written between 1912 and 1935, was published in December 2019. Here art historian Luise Mahler discusses the book with its editor and translator, Charles Haxthausen.
Christopher Wool: Part Two
Gray turns to pink or his twenty-first century, much of it in Texas. Text by Richard Hell.
The New World of Charlotte Perriand
Inspired by a visit to the Fondation Louis Vuitton’s exhibition Charlotte Perriand: Inventing a New World, William Middleton explores the life of this modernist pioneer and her impact on the worlds of design, art, and architecture.
Hans Ulrich Obrist visits the artist at his studio outside Vienna to discover more about the origins of his practice, his experiments in freedom, and the importance of drifting.
Rain Unraveled Tales
In November 2019, City Lights Publishers, San Francisco, released Collected Poems of Bob Kaufman, the first comprehensive collection of the poet’s work. Here Raymond Foye, the book’s coeditor, reminisces about his long-standing friendship with Kaufman and reflects on the enduring power of the poems.
Casa Malaparte: A House Like Ourselves
Wyatt Allgeier explores the legacy of Curzio Malaparte and corresponds with the avant-garde author’s youngest descendant, Tommaso Rositani Suckert, on the subject of his decision to reproduce select pieces of furniture from the iconic Casa Malaparte in Capri, Italy.
Theaster Gates: Amalgam
Theaster Gates’s exhibition Amalgam explores the social histories of migration and interracial relations by highlighting the specific history of the Maine island of Malaga. Here, William Whitney considers the exhibition in relation to Gates’s ongoing art practices and social commitments.