newyorker.com
Lately, Johnson draws for pleasure, but for three decades she had a happily hectic career as an illustrator, sometimes presenting clients with dozens of sketches a day. Her playful watercolors once adorned packages of Lotus software; for a program called Magellan, she created a ship whose masts were tethered to billowing diskettes. She made a popular postcard of two red parachutes tied together, forming a heart; several other cards were sold for years at MOMA’s gift shop. Johnson produced half a…
about 9 years ago
newyorker.com
Yes, I have seen all twenty-four hours of Christian Marclay’s “The Clock”—the perpetually churning video collage, in which thousands of movie clips have been arranged so that they correspond with the actual time of day. I did not attempt to plow through the video in one sitting; it’s art, not an endurance contest. Rather, I let “The Clock” wash over me in dreamy, overlapping waves: three hours here, four hours there. Though Marclay’s montage is fun to watch, what I relished most was entering and…
about 12 years ago
newyorker.com
Marclay liked to make something new by lovingly vandalizing something old. He remixed music—turning it inside out to foreground crackles and hisses—and he remixed objects that created music. He’d based dozens of projects on the vinyl records alone: scarring them with images, using a phonograph stylus like a lathe; melting them into cubes; piling them into menacing black columns. He even strapped a revolving turntable to his chest, as if it were a guitar, and videotaped himself whaling on a Jimi…
about 12 years ago
newyorker.com
McEwan is a connoisseur of dread, performing the literary equivalent of turning on the faucet and leaving; the flood is foreseeable, but it still shocks.
about 15 years ago
newyorker.com
On a drizzly September afternoon in the Baroque heart of St. Petersburg, Koolhaas conferred with two young colleagues in a corridor outside the office of Mikhail Piotrovsky, the director of the State Hermitage Museum. Shortly, he would present his proposal for an “invisible” addition to the museum. At Koolhaas’s request, one of his associates extracted a model from a container the size of a shoebox. It was a blunt geometric form, suggesting, in profile, the lid of a grand piano. It was also braz…
about 19 years ago
Search by beat, location, outlet & position to find the right journalists for your story.
Sign up for free
