Poetry
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Contributor
Stephanie AndersonSTEPHANIE ANDERSON is the author of three chapbooks: The Nightyard (Noemi Press), The Choral Mimeographs (dancing girl press), and In the Particular Particular (New Michigan Press). She lives in Chicago.
RECOMMENDED ARTICLES
Candor Arts: The Chicago-Based Press Reenvisioning Equity in Arts Publishing
By Leah GallantAPRIL 2022 | Art Books
The organization aims to restructure art publishing to fairly compensate all contributors, rather than one in which artists pay exorbitant costs to publish their work. These publishing projects function like an archive of the Chicago arts during the six years the press was active. Ranging from poetry chapbooks to photo portfolios, the more than editions produced also include the monographs accompanying major museum exhibitions.
Data/Body: Corpus and the Cloud Empire of our Lives
By Charlotte KentSEPT 2022 | Art and Technology
My last column addressed generative art, a practice in which artists often use data sets to create complex works about our world. But where does that data come from? And, more importantly, can the aestheticization of data ignore its historical context or the privacy issues of its contemporary context?
Through the Uncertainty, Agnes Borinsky and the Working Group for a New Spirit Are Taking Inventory of Our Lives
By Daniel KraneNOV 2020 | Theater
How can we find assurance and community in our upside down world? It is an especially taxing effort for theater artists, whose work and livelihoods depend on collaboration and communion. Enter the Working Group for a New Spirit, playwright Agnes Borinsky’s free initiative that offers a virtual home for transient artists, seminars in how to take stock of our lives, and more. Daniel Krane dives into this effort—”a series of gatherings for clarity and direction in our messy moment of distance and collapse”—that the Bushwick Starr is hosting now through December 7.
Remaking the Exceptional: Tea, Torture, & Reparations | Chicago to Guantánamo
By Luke A. FidlerMAY 2022 | ArtSeen
If exhibitions of incarcerated artists can range from the voyeuristic to the merely evidentiary (look, here’s art made under duress; aren’t the artists resourceful and isn’t it shocking that they, too, are human?), Remaking the Exceptional is neither.
