Everything the wind blows on has decisions to make. The latest novel from Sarah Hall joins a growing conversation about non-human consciousness—and explores it with more joy, and more filth, than your average climate novel.
Patrick Pittman on David Blackwood’s lifelong devotion to the stories and storms of Newfoundland—and the fragile work of keeping a place, and its ghosts, from slipping away.
In No Fault, Haley Mlotek searches for the language of love’s quiet undoing—from grief to the unexpected grace that comes with choosing to leave a marriage. Patrick Pittman traces what happens when cultural expectations, legal reform, and literary form converge in the finality of divorce.
The survey exhibition Electric Op, now at the Buffalo AKG, reconsiders the short-lived and oft-derided Op art movement within a sixty-year trajectory of digital and new media art making.
As with the field of botany, the idea of the botanic garden in the West is deeply rooted in the history of European imperialism and extractivism. Led by London's iconic Kew, botanic gardens around the world are now attempting to untangle the legacies of empire.
The chaos and order of the garden has been a running theme through much of Olivia Laing's work, and her particular way of looking at the world. No matter how Edenic a garden, the outside world is always creeping in.
In collaboration with Koffler Arts, the Art of Time Ensemble are heading back to the Weimar era for one of their final shows. We spoke to the ensemble’s director Andrew Burashko about his journey into the legendary “human swamp of unfettered sexual desire.”
Soundstreams’ inaugural event of the new season brings together two of the great Jewish artists of the twentieth century—the artist Mark Rothko and composer Morton Feldman.
The fourth Bonavista Biennale in Newfoundland was an exploration of meeting points, of the communal but sometimes parasitic energy that sparks when one place becomes home to another.
