Edward Hopper Painting Hosts Writers’ Residency
When asked to take up “residency” in Edward Hopper’s 1940 painting Office at Night, Kate Bernheimer agreed, then asked the Walker if period costumes would be provided. It turns out the resulting novella she and Laird Hunt wrote didn’t need such accoutrements: “We didn’t find ourselves assigning roles by gender. We traveled as desire took us from body to body, object to object, in the painting instead.”
Edward Hopper, Village Person
Edward Hopper (1882–1967) was “a poet of the abyss, a chronicler of discontinuity and disruption, who seemed to need a static environment from which he could take inventory of what was emotionally solid and measure the distance to the nearest patch of null,” writes Julie Lasky. She visits that environment, the minimally furnished Greenwich Village apartment he lived and worked in for a half century.
Muscle Memory/Blood Memory
In LaTasha N. Nevada Diggs’ poetry, “obvious” and everyday American popular culture expressions are made strange, and the rarest language is universal. It is a space in which “the Other” can finally see herself in the eye of “the Normal,” and “the Normal” recognizes a horrific difference at its core. Here, Diggs discusses her new book TwERK, the relationship between sound and text, and “ghost translations.”
Accumulated Vision: Trisha Brown and the Visual Arts
Trisha Brown’s choreography, especially early in her career, held special appeal for one audience in particular: visual artists. Writer and art historian Susan Rosenberg examines ways that the legendary choreographer’s curatorial sensibility, penchant for systems, and development of annotated scores echo the practices of artists such as Robert Rauschenberg, Sol LeWitt, and Donald Judd.
Housing—as an aesthetic, conceptual, political, and environmental concern—has captured the imaginations and passions of artists and architects in recent years. In a flourishing yet undefined field, Rick Lowe, Rirkrit Tiravanija, N55, the Rural Studio, and others are prototyping creative solutions that range from portable architecture to squatting to long-term community-based design projects.
Choreographing Experiences in Space: Olga Viso Interviews Jim Hodges
“I love spatial relationships and dimensionality,” says Jim Hodges. “I’m interested in theatrical moments and choreographing experiences in space. I think as a drawer and make as a sculptor.” In conversations spanning three years, the artist and the Walker’s Olga Viso delved into Hodges’ art practice, life, and influences, touching on themes from love and loss to politics, spirituality, and mortality.
Truth, Not Necessarily Reconciliation: Lola Arias Confronts Dictatorships
Lola Arias will not forgive and forget. When it comes to the military dictatorships that haunt the recent past of Chile and her home country of Argentina, the writer/director doesn’t think it’s possible. In El Año en que nací (The Year I Was Born), she brings together the Chilean sons and daughters born during Pinochet’s rule to confront, discuss, and understand—not to force a happy ending.
Reddit’s Alexis Ohanian on Tech, Epic Fails, and Social Change
With millions of users worldwide, Reddit.com has become a bona fide cultural force. It’s hosted Q&As with the likes of Barack Obama and Stephen Colbert, launched web memes like Grumpy Cat, and championed activist causes, from fighting the PROTECT IP Act to winning a Greenpeace whale-naming contest. In a wide-ranging interview, cofounder Alexis Ohanian discusses failure, activism, and the Internet.
Penino Envy: Kuro Tanino on the Architecture of the Inner Life
The ubiquitous phallic symbols in Niwa Gekidan Penino’s The Room Nobody Knows—including penis-shaped furniture—stem in part from Toyko-based director Kuro Tanino’s former career as a psychiatrist. But they also represents the confusing Freudian power dynamic that exists between the play’s brothers—a nod to the “complex relationships” he had with his own brothers.