I have an adage: “To do the thing is easy enough, but to put yourself in a position to do it is extremely difficult.” In other words, you have to be perceptive about yourself. And you have to allow the authority of yourself to conflict with the authority of the world, so you can create something the world doesn’t yet have, which is what art is about to a great extent. At least it is to me. So whatever people gravitate towards, poetry, painting, or film, or whatever, it’s the putting themselves in the position to do it that’s very difficult.

Carl Andre in conversation with Phong Bui and Michèle Gerber Klein, The Brooklyn Rail, February 2012. 


Much virtual ink has been spilled of late about how an excess of money has “spoiled” the art world, but the discussion has been focused on the dubious effects of wealth, the dominance of art fairs over biennials, and the power of collectors and dealers over critics and curators. The corrupting influence of money and market power on higher art education is rarely touched upon in these conversations. The politics of charging vulnerable young people six figures as an entry fee into a milieu that cannot sustain most of them deserves greater scrutiny. A degree that was originally conceived as preparation for teaching, whose expansion throughout the country in the 1970s created a subsidized sector for non-commercial artists, has been reformulated at the high end to function as a pricey gateway to the art world. There has been a good deal of chatter about what art school should be and whether one can really be taught to create art, and some of the more brazen members of the art world have claimed of late that they are creating anti-universities and anti-art schools outside of these institutions. But how much longer should we endure our own version of a subprime loan crisis before we consider how art schools seduce relatively inexperienced consumers into borrowing huge sums for degrees by trafficking the same myths about art and the art market that they purport to “deconstruct” in required lecture classes?
—  Alternatives, by Coco Fusco, in The Brooklyn Rail, Feb 2013.
When I worked on the first version of Marry Me A Little, [Sondheim’s] position in the world of theater was very different; a lot of people criticized his work for its purported coldness, lack of melodic rewards, technical virtuosity over natural beauty. All of those people have died and burned in hell, and he is now generally held to be the finest practitioner of his art in the last 50 years. He is a natural teacher, and he’s direct, which I prefer. I’m not afraid of informed criticism. For criticism to wound, it has to be malicious, intelligent, well-crafted, and perfectly aimed. Given the laughably low-level of dramatic criticism in America, most artists worth their salt in theater are permanently safe from pain.
—  Craig Lucas on the difference in working with Sondheim then and now, in The Brooklyn Rail.

The third and final installment of Jarrett Earnest’s conversation with Richard Tuttle, “ABC of/for Richard Tuttle; An epistolary interview with Jarret Earnest" has been published on The Brooklyn Rail. Read the final segment "P-Z", and the previous two installments: “A-G” and “H-O”.

©Richard Tuttle, Courtesy Pace Gallery


Some things I have been lovin’ on lately:

1. Bernadette Mayer (my girl Bernie, hollar!) with a list of writing experiment ideas

2. This ridiculous piece at Brooklyn Rail sings to my GRE subject test woes

3. The Magritte Poems by Hannah Weiner OK well duh this is just great try to get me to NOT be lovin’ on this.

4. Some stuff from the other poetic wiener: John Wieners mass Mass post over at Jacket2

5. Sontag’s “The Aesthetics of Silence”

6. "Veronica’s Monocle: On Anger and Late Girlhood" by Katharine Jager ~~ think Dana Ward linked to this; a great essay on Heathers

7. I saw Evan Kennedy & Dana Ward read on Saturday & it tore me up inside; life is delicate & destructive


“Not only did they sacrifice for their art, which they did, but they chose how to make their lives around the work, and vice versa. … The life and the art are almost one.”

Brooklyn Rail talks with Vincent Katz about Black Mountain College: Experiment in Art and the history of the legendary, yet short-lived, college.

Pictured: Charles Olson, Robert Creeley, and Buckminster Fuller with  Merce Cunningham.

A new rail line is being planned between Downtown and Ballard. Fremont is one of my favorite neighborhoods in general which is where I would live in an apartment. This rail line would reinforce my opinion that Fremont, Ballard and South Lake Union are the best places to live because of the new change coming if this rail line begins construction. The values of homes around the rail station will sky-rocket. People in Seattle want to get rid of their car if they can ride the train to work and eliminate the tens of thousands of dollars in expenses spent on their car(s).

If Fremont, Ballard or South Lake Union are not the neighborhoods for you. Then I recommend you invest in a home around the planned rail stations in Roosevelt, Brooklyn, Northgate, south of the airport and the suburban neighborhoods: Des Moines, Lynnwood, Overlake, Redmond and Federal Way. Property value sky-rockets when a rail station is being built or has been built in walking distance.

David Hockney. “Nichols Canyon,” 1980. Acrylic on canvas. 213.4 × 152.4 cm. Private collection. © David Hockney. Exhibition organized by the Royal Academy of Arts, London in collaboration with the Guggenheim Museum, Bilbao and the Museum Ludwig, Cologne.

William Corwin visited David Hockney in his studio in Bridlington, Yorkshire, to discuss the paintings, iPad drawings, and videos that form the core of his show A Bigger Picture at the Royal Academy in London (January–April 9, 2012) via The Brooklyn Rail.