November/December 2013
November/December 2013
This issue’s cover was created by J. Otto Seibold, with art direction by Brian McMullen. Seibold’s latest picture book for children, Lost Sloth, is out now from McSweeney’s McMullens (a branch of the same publishing company, it should be noted, that is responsible for this magazine).
VOL. 11, NO. 9

Best of All Possible Worlds
by Mark Lane
An effort to kickstart urban renewal in Evansville, Indiana, leads residents to take sides and artists to consider the social implications of their work.

Womanhouse Revisited
by Sasha Archibald
When tracing the roots of feminist art, all roads lead back to Southern California in the early 1970s and an installation called Womanhouse.

Art Grenade
by Damaris Colhoun
One Iraq veteran faces censorship over his confrontational performance art; another is nicknamed “the Kiln Fairy.”

Pillow of Air
by Lawrence Weschler
The debut installment of Lawrence Weschler’s column of loose-synaped peregrinations.

The Omnivorous Eye
by Lawrence Weschler
An introduction to Pillow of Air

edited by Alvin Buenaventura

Schema: A Retrospective of Fictional Artists
by Louisa Dunnigan

Real Life Rock Top Ten
by Greil Marcus

A Sudden Gust
A new poem by Sheryda Warrener

What the Swedes Read
by Daniel Handler

Elizabeth Peyton
interviewed by Leanne Shapton
“I don’t ask anybody to do anything. I just want to see.”

Chris Martin
interviewed by Ross Simonini
“Finding one’s freedom is about surrendering to your helplessness. I’m a painter. That’s what I do.”

Fast Masters
Winnie Wong interviewed by James Hughes
What do the masterful painters of Dafen, China, teach us about authenticity and exceptionality?

Aaron Hughes
interviewed by Meehan Crist
“There are still flowers in the desert, and that’s beautiful in the midst of all this destruction.”

The Process
by Amy Klein
A conversation with Suzanne Lacy about her piece Three Weeks in January.

Mason Currey’s Daily Rituals: How Artists Work
reviewed by Siobhan Phillips

Genpei Akasegawa’s Hyperart: Thomasson
reviewed by Daniel Levin Becker

David Abed’s Liquid Modernity
reviewed by Kathleen Rooney