Sayre Gomez: Renaissance Collection

By Jake Romm

SEPT 2022 | ArtSeen

Los Angeles based painter Sayre Gomez’s exhibition of new work, Renaissance Collection, currently on view at the Fondazione Sandretto Re Rebaudengo in Turin, Italy consists of five paintings focused on the eponymous collection of apartment buildings by developer Geoff Palmer. Palmer is notorious for being both a sleazy and rapacious figure in the LA real estate scene, and also, something of an idiot, having once claimed that “The Italians actually settled LA before the Spanish and Chinese.

Dick Higgins’s A Something Else Reader

By Jennie Waldow

FEB 2023 | Art Books

The Reader models how contemporary artists and publishers can build on and subvert the communicative forms of the recent past. It collects excerpts from the multifarious output of its namesake press: event scores, concrete poetry, conceptual collages, philosophical essays, and reprints of classic modernist publications.

ARTUR SCHNABEL AND JOSEPH SZIGETI PLAY MOZART AT THE FRICK COLLECTION (APRIL 4, 1948)

By Lloyd Schwartz

JUNE 2023 | Poetry

Lloyd Schwartz is the Poet Laureate of Somerville, MA, the Frederick S. Troy Professor of English Emeritus at UMass Boston, the longtime music and art critic for NPR’s Fresh Air and WBUR, and an editor of the poetry and prose of Elizabeth Bishop. His awards include the Pulitzer Prize for Criticism and Guggenheim Foundation, NEA, and Academy of American Poets fellowships in poetry. His poems have been chosen for the Pushcart Prize, The Best American Poetry, and The Best of the Best American Poetry. His latest collection is Who’s on First? New and Selected Poems (University of Chicago Press). He was born in Williamsburg.

Channeling Robert Ashley: Object Collection at The Brick

By Dan Joseph

DEC 22–JAN 23 | Music

At its core, Automatic Writing is a kind of ritual magic rendered on magnetic tape. Imbued with a sense of occult-like mysticism, it transforms sound and language into a surrealist psychological space. Developed in the studio over a five year period, Ashley wrote that Automatic Writing “became a kind of opera in my imagination” that conjures a set of four shadowy characters. It is this hallucinatory auditory space, this imaginary opera, that Object Collection sought to animate on the stage.