The cover depicts, among various anonymous gallerygoers,
a woman wearing one of Rosemarie Trockel’s knit caps,
a masked child from a Ralph Eugene Meatyard photograph,
and Matthew Barney dressed in his (furry, pink)
“Entered Apprentice” costume from Cremaster 3.
According to Charles Burns (our cover illustrator),
Vito Acconci is also depicted, but he’s hidden under the
gallery floor, reenacting his famous Seed Bed performance.
VOL. 4, NO. 10

The Long Good-Bye Man
by Porter Fox
Fielding Dawson’s abstract expressionist writing style came from his training with legendary painters like Franz Kline and Philip Guston.

Homelessness Begins at Home
by Samantha Topol
With a taxidermied coyote for a PR director and the membership department in the freezer, HoMu is not your average arts organization.

The Family Albums of Ralph Eugene Meatyard
by Theodore McDermott
Meatyard took the average family snapshot, put a freakish mask on it, and then set it in front of a decaying Southern mansion.

Ten Contemporary Artists
selected by Jenelle Porter
Each one underrecognized, female, and ineffably awesome.

Castle Nowhere
by Jen Graves
The world’s most isolated art museum didn’t want its portrait made, but this summer, across the gorge, it had a feisty, translucent double.

Matthew Barney
interviewed by Brandon Stosuy
Talking with a sculptor primarily working in Vaseline, football stadiums, hardcore bands, film, Celtic islands, and Norman Mailer.

Vito Acconci
in conversation with Shelley Jackson
Chronicling the natural progression from poet to performance artist to installation artist to working architect.

Steven Heller
in conversation with Susan Choi
A collection — and interrogation — of artifacts from the “golden age” of pictorial racism.

A removable stack of paintings
by Kehinde Wiley
is affixed to this issue’s cover.

The Dark Rockwell
by Ed Park
Unsettling forces dwell in the most innocuous of Norman’s scenes.

Like Dylan in the Movies
by Andrew Lewis Conn

Ingeborg Bachmann’s Darkness Spoken
reviewed by Aimee Kelley

Jason’s The Left Bank Gang
reviewed by Ross Simonini

Yashar Kemal’s They Burn the Thistles
reviewed by Rebecca Tuhus-Dubrow

reviewed by Thomas March

Tracy Philpot’s Original White Animals
reviewed by Stephen Burt

by Marc Maron

On Duty
by John Glassie
The best kind of unintentional art is that which depicts tableau images of Swiss policemen pretending to do the things they do every day.

Schema: Rube Goldberg Breakfast Machines
by Jennie Gruber and Brian McMullen