F. John Beech, Coated Drawing/Harrison Place, Brooklyn (detail), 2008
Aluminum enamel on inkjet print
11 x 8 ½ inches

B. Hybrid Dumpster Drawing #9 (detail), 1997
Black and white RC phototgraphs, tape
9 2∕3 x 13 2∕3 inches
Courtesy the artist and Peter Blum Gallery, New York

FEATURES

The World

- Simon Evans -

6 Questions for Boris Groys

- Kurt Mueller -

Of what relevance is the term / idea of utopia to the contemporary urban landscape? On what scale, if at all, does this concept inform design / planning today?

Different Drugs

- Simon Evans -

Silence and Void: Cage, Fuller, and Urban Space

- Ben Judson -

In 1948, John Cage staged a play at Black Mountain College. The production, The Ruse of Medusa, was an early bit of surrealism written by Erik Satie in 1913.

The Image of the City: Notes on Mark Bradford’s Help Us and Liz Glynn’s 24 Hour Roman Reconstruction Project

- Jason Hill -

A city is an unknowable thing. We can only know our cities: not “Houston” or “Los Angeles” or “New York” but, rather, our personal paths and roads and restaurants and bars, neighbors and galleries and corners and mailboxes—those things we experience and register directly.1 Only that which is phenomenologically present is truly knowable.

Against Architecture

- Kelly Baum -

Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams.

Dumpster Drawings

- John Beech -

The City, Naked

- Stephanie Snyder -

The revolutionary transformation of the world, of all aspects of the world, will confirm all the dreams of abundance.

Immersion in the Land of Oil

- Bree Edwards -

A visit to the Houston Ship Channel is a compelling activity, highly recommended for anyone interested in current events. Here in this petrochemical Mecca, the largest petrochemical complex in the United States, the full extent of our saturation in the oil economy can be seen, felt, smelled and fathomed.

Workspace 08: In Katrina's Wake

An Exhibition/Report/Call to Leadership

- Annette DiMeo Carlozzi -

How do artists respond to calamity? In New Orleans, in the almost three years since Hurricane Katrina and the subsequent levee breaks of August and September 2005, many resident artists—and a number of artists observing from the outside—have been moved by the still-urgent need for individual and community relief and recuperation.