Ei Arakawa Invites You to Join In frieze.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from frieze.com Daily Mail and Mail on Sunday newspapers.
The photographer moved effortlessly between scenes: No Wave music, performance, queer subcultures, downtown nightlife, the Pictures Generation and mail art.
This week, the editors celebrate Wayne Koestenbaum’s essay on the art of the fugue, “Notes on Not Now,” which appeared in the magazine’s pages in December 1995. Koestenbaum’s conversation with countertenor Anthony Roth Costanzo will be released tomorrow as part of the online video series “Artists On Writers | Writers On Artists,” a copresentation of Artforum
and Bookforum.
“I am confused about the spirit of the age,” Wayne Koestenbaum confesses in his incandescent and hilarious he would likely prefer the word hysterical essay “Notes on Not Now.” Playing inside the form of the fugue both the musical composition and that muggy state of mind the piece muses on what, or who, signals the contemporary. In a culture that embroiders its currency with revivals and republications, comebacks and recirculations, is there no time not like the present? As ever, Koestenbaum’s measure of a moment is prompted by matters of language. Here, a scholar’s mention of “iconoph
An Artist for the Dystopian Age
Tishan Hsu lives above his Williamsburg, Brooklyn, studio, where an immense skylight keeps a Norfolk Island Pine alive. The miniature green chair was once the artist’s son’s but, these days, Hsu uses it to work on pieces on the floor, like the glassy tank just behind him a cast-off component of a sculpture that grew in another direction.Credit.Flora Hanitijo
Sections
An Artist for the Dystopian Age
For decades, Tishan Hsu has explored the ever more salient relationship between technology and the human body.
Tishan Hsu lives above his Williamsburg, Brooklyn, studio, where an immense skylight keeps a Norfolk Island Pine alive. The miniature green chair was once the artist’s son’s but, these days, Hsu uses it to work on pieces on the floor, like the glassy tank just behind him a cast-off component of a sculpture that grew in another direction.Credit.Flora Hanitijo