Category Archives: Critics / Writers

Shana Nys Dambrot

With painter Justin Bower and director Andi Campognone artist talk at Lancaster Museum of Art and History

Shana Nys Dambrot is an art critic, curator, and author originally from NYC but based in Los Angeles since 1995. She studied Art History at Vassar College, during and after which she interned with Gagosian and Castelli Galleries, and worked at the Guggenheim Museum. But she always knew she wanted to write about art, and over the past decades has worked the gamut of digital and print platforms, covering visual, literary, cinematic, and performing arts across a rapidly changing media landscape.

Dambrot is an independent writer who plays different roles at a roster of arts publications; she is currently LA Editor for Whitehot Magazine, Contributing Editor for Art Ltd., and a contributor to Art and Cake, Flaunt, the Huffington Post, Creators (Vice Media), Fabrik Magazine, Palm Springs Life, Vs. Magazine, Porter & Sail, and KCET’s Emmy-winning cross-platform series, Artbound. Formerly Managing Editor at, previous publications have included the LA Weekly, Modern Painters, Art Review, Artweek, ARTnews, Desert Magazine, Montage, Bespoke, The Believer, tema celeste, Angeleno, Art Asia Pacific, Bluecanvas, Scene, and Juxtapoz.

In addition to the core practice of critique and chronicle — and the occasional piece of short fiction — Dambrot has written hundreds of essays for monographs and exhibition catalogs, which in some ways is her favorite form of prose, marrying analysis with evocative interpretation, art historical context, biography, and even a little bit of poetry. She also curates and juries a few gallery exhibitions each year, typically exploring specific cultural and social themes at the invitation of independent venues, and frequently expanding into the realm of immersive, experiential, festival-like environments inclusive of video, performance, and early AR and VR technologies.

Besides speaks in public at galleries, schools, and cultural institutions nationally, Dambrot currently serves on the board of Art Share LA as well as the non-profit’s Gallery Exhibition Committee, dedicated to preserving a historical landmark of independent local, actual art and artists in the heart of the now-famous and fancy Downtown Art District. She is also the Advisory Board of Building Bridges Art Exchange, an international residency and exhibition program dedicated to the crossing of every kind of border.

An account of her activities is sometimes updated at

With artists Amy Kaps and Eric Schwabel inside Kaps Striped World installation at CMay Gallery in LA part of a show Dambrot curated called Continental Drift 2015

On a studio visit with painter Wyatt Mills in Los Angeles

Nate Harrison

Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in modern media. His work has been exhibited at the American Museum of Natural History, the Whitney Museum of American Art, the Centre Pompidou, the Los Angeles County Museum of Art, and the Kunstverein in Hamburg, among others. Nate has several publications current and forthcoming, and has also lectured at a variety of institutions, including Experience Music Project, Seattle, the Art and Law Program, New York and SOMA Summer, Mexico City. He is the recipient of the 2011 Videonale Prize as well as the 2013 Hannah Arendt Prize in Critical Theory and Creative Research. Nate earned his doctorate from the University of California, San Diego with his dissertation Appropriation Art and United States Intellectual Property Since 1976.

He serves on the faculty at the School of the Museum of Fine Arts, Boston, and lives in Brooklyn, New York.

The (quick) Time Machine, 2003 2 channel synced DVD projection with sound dimensions variable total run time 1 hour, 43 minutes

Can I Get An Amen?, 2004 recording on acetate, turntable, PA system, paper documents dimensions variable total run time 17 minutes, 46 seconds

Richard Vine

Richard Vine is the managing editor of Art in America. He holds a Ph.D. in literature from the University of Chicago and previously served as editor-in-chief of the Chicago Review and of Dialogue: An Art Journal.

He has taught at the School of the Art Institute of Chicago, the American Conservatory of Music, the University of Riyadh in Saudi Arabia, the New School for Social Research, and New York University. Some 300 of his articles, reviews, and interviews have appeared in various journals, including Art in America, Salmagundi, the Georgia Review, Tema Celeste, Modern Poetry Studies, and the New Criterion, and in numerous art catalogues and critical compendiums.

His critical books include Odd Nerdrum: Paintings, Sketches, and Drawings (2001) and New China, New Art (2008), which traces the emergence of avant-garde art in China since 1976. In 2013, Vine curated the international exhibition “Darkness Visible” at the National Art Museum of China, Beijing. “Golden Sections,” his ten-year survey of the work of Icelandic sculptor and architect Gudjon Bjarnason, was mounted in 2015 at the National Academy of Art in New Delhi, India. In 2016-17, he co-curated the group exhibition “Murder, She Said” at the John Jay College of Criminal Justice, New York. Vine’s novel SoHo Sins, a murder mystery set in the New York art world of the 1990s, was released in 2016.

Edward Hirsch

Edward Hirsch, a MacArthur Fellow, has published nine books of poems, including The Living Fire: New and Selected Poems (2010), which brings together thirty-five years of work.

His book-length elegy, Gabriel: A Poem (2014), which The New Yorker calls “a masterpiece of sorrow,” won the National Jewish Book Award for poetry.

He has also published five books of prose, among them, How to Read a Poem and Fall in Love with Poetry (1999), a
national bestseller, and A Poet’s Glossary (2014), a full compendium of poetic terms.

He is president of the John Simon Guggenheim Memorial Foundation.

Eben Kirksey

Eben Kirksey at at Zuchotti Park in 2011

Eben Kirksey studies the political dimensions of imagination as well as the interplay of natural and cultural history.  Duke University Press has published his two books—Freedom in Entangled Worlds (2012) and Emergent Ecologies (2015)—as well as one edited collection: The Multispecies Salon (2014).

Dr. Kirksey is perhaps best known for his work in multispecies ethnography—a field that mixes ethnographic, historical, ethological, and genetic methods to study spaces where humans and other species meet.  He first entered this field as an editor and curator.  “The Emergence of Multispecies Ethnography,” a special issue of Cultural Anthropology co-edited with Stefan Helmreich, situates contemporary scholarship on animals, microbes, plants, and fungi within deeply rooted traditions of environmental anthropology, continental philosophy, and the sociology of science.  Collaborations with bioartists, who work with living matter as their media, produced The Multispecies Salon, an edited book which brought together insights from the humanities on the microbiome, health, food, environmental justice, and synthetic biology.

Emergent Ecologies, his latest book monograph (Duke: 2015), explores how chance encounters, historical accidents, and parasitic invasions have shaped present and future multispecies communities.  The book asks: “How do certain plants, animals, and fungi move among worlds, navigate shifting circumstances, and find emergent opportunities?”  

Eben Kirksey first went to West Papua, the Indonesian-controlled half of New Guinea, as an exchange student in 1998. As a British Marshall Scholar at Oxford University, and a doctoral student under James Clifford at UC Santa Cruz, he later studied a popular indigenous political movement in West Papua.  Kirksey’s research morphed as he discovered that collaboration, rather than resistance, was the primary strategy of indigenous Papuan leaders. Accompanying indigenous activists to Congressional offices in Washington D.C., Kirksey saw the revolutionaries’ knack for getting inside institutions of power and building coalitions with unlikely allies.  Freedom in Engangled Worlds, his first book, blends ethnographic research with indigenous parables to illustrate visions of dramatic transformations on coming horizons.  Papuans have visions of a future when they will give away their natural resources in grand humanitarian gestures, rather than watch their homeland be drained of timber, gold, copper, and natural gas.

Princeton University hosted Dr. Kirksey as the 2015-2016 Currie C. and Thomas A. Barron Visiting Professor and he is currently an Executive Program Committee Member of the American Anthropological Association (AAA).

The books mentioned in the interview are Geoontologies by Elizabeth A. Povinelli and Testo Junkie by Paul B. Preciado.

Emergent Ecologies: Parasites from Multispecies Salon on Vimeo.

Carol Kino

Carol Kino is a journalist who writes about visual art.  

She grew up in Stanford, California, and now lives in New York.  She started out in the mid-1990s writing about art for Modern Painters, the Atlantic Monthly and many art magazines, including Art in America, Art & Antiques, and Art + Auction, where she was a contributing editor from 2001 to 2015.  Today her work often appears in WSJ. magazine, The New York Times and T, 1stdibs Introspective, and other publications.   

She has also written for Departures, Town & Country, Bloomberg Muse, Slate (where she wrote the first slide show, on Surrealism), and The National of Abu Dhabi, among many other publications.   She was a two-time USC Annenberg/Getty Arts Journalism Fellow,
in 2007 and 2011.

What she loves most about writing about art is that she hasn’t had to confine herself to the white cube.  She’s been able to use the subject to investigate many different areas of society, from prisons to the military to art education and garden design, and to write a vast range of stories, from profiles to features.   

The two books mentioned in the interview are: The Prize by Dale Russakoff and American Heiress: The Wild Saga of the Kidnapping, Crimes and Trial of Patty Hearst.

Laurie Sheck

Laurie Sheck is the author of, most recently, Island of the Mad, (December 2016 )and A Monster’s Notes, a re-imagining of Mary Shelley’sFrankenstein, which was long-listed for the Dublin Impac International Fiction Prize, and named one of the Ten Best Fictions of the Year by Entertainment Weekly ( 2009). 

A Pulitzer Prize finalist in poetry for The Willow Grove, she has been a Guggenheim Fellow, as well as a fellow at the Radcliffe Institute for Advanced Study at Harvard, and at the Cullman Center for Scholars and Writers at the New York Public Library. 

Her recent lyric essays have appeared in The Paris Review,The Atlantic, Granta, and elsewhere. Her poems have appeared in numerous publications including The New Yorker, The New York Times, The Paris Review, and The Nation.  She has taught at Princeton, CUNY, and Rutgers, and is currently a member of the MFA Writing faculty at the New School. She lives in New York City.  

Greg Tate


Greg Tate Photo by Nisha Sondhe

Greg Tate is a writer,musician and producer, who lives in Harlem. From 1987-2005 he was a Staff Writer at The Village Voice. Tate’s  writings on culture and politics have also been published in The New York Times, The Washington Post, Artforum and  Rolling Stone. He has been recognized as one of the ‘Godfathers of Hiphop Journalism’. His books include Flyboy In The Buttermilk, Brooklyn Kings-New York’s Black Bikers(with Martin Dixon), Midnight Lightning: Jimi Hendrix and The Black Experience, and Everything But The Burden–What White People Are Taking From Black Culture  His most recent book was published by  Duke University Press:  Flyboy 2: The Greg Tate ReaderHis forthcoming book,Beast Mode: 20 Iconic Gods and Monsters of the Late Twentieth Century Black Atlantic is contracted to FS&G  Since 1999, Tate has led the Black Futurist big band,  Burnt Sugar The Arkestra Chamber who have traveled throughout Europe and The States, and  have released 17 albums on their own Avant Groidd  Records imprint. for more.

The books mentioned in the interview are  Charcoal Joe: An Easy Rawlins Mystery by Walter Mosley and A Brief History of Seven Killings: A Novel by Marlon James and The American Slave Coast: A History of the Slave-Breeding Industry by Ned and Constance Sublette.

Markus Mueller

Clients of BUREAU MUELLER include the Museum fur Moderne Kunst (MMK), Frankfurt, the Josef Albers Museum Quadrat Bottrop, the internet magazine Contemporary And (C&), the ars viva – price of the Kulturkreis der deutschen Wirtschaft im BDI e.V. (Association of Arts and Culture of the German Economy at the Federation of German Industries) , RAY Photographie Projekte, Frankfurt, Haus der Kunst, MOnchen, the Deutsche Sparkassen- und Giroverband (German Association of Saving Banks), Kunsthalle Wien, and the German Pavillon at the 5ih International Art Exhibition – Venice Biennale 2017, and Haus Modrath – Rliume fur Kunst.

Mueller has been part of the team of the Artistic Director Okwui Enwezor at the 561 International Art Exhibition Venice Biannale. Former clients include the German Pavilion at the 55th Venice Biennial in 2013 (Ai, Karmakar, Mofukeng, Singh), the German Pavilion at the 541h Venice Biennial in 2011 (Christoph Schlingensief , Golden Lion), The Museum of Modern Art, New York , the National Art Museum of Ukraine (Kiev), the Julia

Stoschek Collection, DOsseldorf, the Prince Claus Fund, Amsterdam, the Villa Romana, Florence, Meeting Points 6 (Beirut, Brussels, Berlin), the About Change, Collection, Berlin, the Galerie fur zeitgenossische Kunst, Leipzig, La Triennale 2012 (Paris), Documenta (13), the Gwangju Biennale Foundation, South-Korea, The Walther Collection, New York , Neu-Ulm/Burlafingen, and Jarla Partilager, Stockholm, Berlin.

Before founding BUREAU MUELLER in 2007 MOiier was the Deputy Director and Head of Communication of KW Institute for Contemporary Art, Berlin. MOiier has been Director of Communications for Documenta11, Kassel, Germany and was responsible for organizing the first four platforms of Documenta11 in Vienna, New Delhi, Berlin, St. Lucia and Lagos (1999 – 2002) . He was also responsible for the overall communicative strategy , the development of the corporate design, and the internet presence of Documenta11. He has worked as Director of Communications for the 3’d and 4th Berlin Biennial (2004 and 2006) as well as Sculpture. Projects in Munster 1997, and the German Pavilion at the Venice Biennale 1993 (Hans Haacke and Nam Jun Paik). From 1995 till 2002 he was Head of Communication and Curator for Contemporary Art at the Westflilische Landesmuseum in Munster.

Markus MOiier has curated a small number of exhibitions, among others ECM A Cultural Archeology (together with Okwui Enwezor) , Haus der Kunst, Munich 2012/2013, Throbbing Gristle, TG@KW Annual Industrial Report, KW Institute for Contemporary Art, 2005, General Idea, General Ideas Editions , 1967 – 1995, KW, 2006, Psychotopes (with Bill Burns, Robyn Collier, Germanine Koh, Benny Nemerowsky Ramsay, Scott Lyall a.o.), YYZ, Toronto, 2003, Gordon Matta-Clark, Food, Westfalisches Landesmuseum Munster, Germany, 1999, Heimo Zobernig, The Catalogue, Westfalisches Landesmuseum Monster, Germany, 1998, Platos Cave, the museum and electronic media, Karl Ernst Osthaus-Museum Hagen, 1994, and as part of the non-for-profit branch of BUREAU MUELLER, solo exhibitions with Fischli/Weiss, Heimo Zobernig, Agnes Martin, Stan Douglas, Jenny Holzer, Peter Roehr, Gunter Fruhtrunk, Michaela Meise, Birgit Hein, Terre Thaemlitz , William Eggleston, Perlon Records, Bettina Allamoda, Albert Oehlen, Ursula Boeckler, and Thomas Scheibitz (2007-2017) .

He has recently co-curated I got Rhythm, Jazz and the Visual Arts at the Kunstmuseum Stuttgart running till March 2016 and is working on Improvise NOW!!! a series of concerts , performances, lectures, symposia and an exhibition at Haus der Kunst that run from April 2016 to August 2017 . Mueller is working on Free Music Production (FMP): The Living Music which will take place at Haus der Kunst and Akademie der KOnste in 2017/2018 .

He has published extensively on music and contemporary art, for example interviews with (among others) Mike Kelley, Dan Graham, Renee Green, Christian Marclay, Martin Creed, Greil Marcus, Alex Katz, Jutta Koether, Douglas Gordon, Tobias Rehberger in Make it Funky, Strategies between Avantgarde and Pop in Visual Arts and Music, Cologne, 1999, and interviews (among others) with Kim Gordon, Thurston Moore, Glenn Branca, Tony Oursler , Jeff Wall and Dan Graham in Dan Graham Works 1965 2000, DOsseldorf, 2002. From 1999 – 2012 he was a regular contributor to Texte zur Kunst, Bertin.

Since 2003 he is a lecturer at the postgraduate Institute for Art in Context at the Universitat der KOnste, Berlin.

This is info on the exhibition of the record label FMP.

These are the books that were mentioned in the interview; Cixin Liu: Death’s End and John Corbett: Microgroove

Jonathan Guyer

9175830Jonathan Guyer is Cairo-based writer. He is a fellow of the Institute of Current World Affairs in Washington, DC, and contributing editor of the Cairo Review of Global Affairs. From 2012 to 2013, he served as a Fulbright fellow researching political cartoons in Egypt. A regular contributor to Public Radio International, he has written for The Guardian, Guernica, Harper’s, The Los Angeles Review of Books, New York magazine, The New Yorker, New York Review of Books, Nieman Reports, and The Paris Review. His book chapter “Translating Egypt’s Political Cartoons,” appears in Translating Dissent: Voices from and with the Egyptian Revolution (ed. Mona Baker, Routledge, 2016). He blogs about Arab comics and caricature at Oum Cartoon:

In the interview, the book mentioned is: Surrealism in Egypt: Modernism and the Art and Liberty Group by Sam Bardaouil.


“The The Heinous Assault on Saad Zaghloul at Cairo Station,” July 21, 1924 edition of Al-Lataif Al-Musawara, an early member of Egypt’s illustrated press. via Oum Cartoon.


Alaa Allagta, Arabi21News, Palestine


Doaa Eladl, Al-Masry Al-Youm, Egypt

Hans-Jürgen Hafner


Hans-Jürgen Hafner Photo: Katja Illner

Hans-Jürgen Hafner, born in 1972, is an exhibition organizer, writer and art critic. From 2011 to 2016 he was director of the Kunstverein für die Rheinlande und Westfalen in Düsseldorf. 

Hafner studied German sciences and history at the University of Regensburg. Having worked as a freelance writer and art critic since 2000, he has contributed numerous articles, essays and reviews to the online platform, art magazines such as Camera Austria, Spike Art Quarterly and Texte zur Kunst, as well as many other publications. As an independent curator, Hans-Jürgen Hafner has organized numerous art exhibitions since 2004 such as „The Most Contemporary Picture Show, Actually“ (Kunsthalle Nuremberg, 2006), „difference, what difference?“ (Artforum Berlin, 2008) or „Bild und Träger und ein Pfeiler im Park Sanssouci“ (Brandenburgischer Kunstverein, Potsdam, 2011). These are generally thematic surveys, whereby the exhibition itself is also examined as a situation-specific format and a medium in its own right. From 2011 to 2016 Hafner has been the artistic and managing director of the Kunstverein für die Rheinlande und Westfalen, where he has organized monographic exhibitions with artists such as Tim Berresheim, Charlotte Prodger, Josephine Pryde, Rosa Sijben, Dominik Sittig and Walter Swennen and thematic exhibitions such as „Das Beste vom Besten“ on art’s differentiating economies, „Zum Beispiel ‘Les Immatériaux‘“ co-curated by Christian Kobald with reference to Jean-François Lyotard’s seminal ‚philosophical‘ exhibition „Les Immatériaux“ from 1985 or „Die Kunst der Türken/The Art of the Turks/Türklerin Sanati“, co-curated by Manuel Graf; in 2012 and 2013 Hafner also presented the first museum survey of the artistic oeuvre of Henry Flynt in Düsseldorf and ZKM Karlsruhe. Flynt established ‘concept art’ as genre as early as 1961 and is also known as a philosopher and composer. 

Together with the painter and art critic Gunter Reski, Hafner curated the exhibition The Happy Fainting of Painting in 2012, focussing on the problematic discursive situation of painting, and published an anthology of the same title in 2014. Alongside new essays, interviews and artists’ contributions, the publication includes a number of key historical texts on painting since the 1980s that have been translated into German for the first time. After five years in Düsseldorf Hafner is again based in Berlin and works as freelance art critic occasionally involving himself in the dubious business of curating. He is a regular contributor to research platform Institut für Betrachtung (IFB), an initiative by artist Tim Berresheim and art historian Wolfgang Brauneis.

The books mentioned in the in the interview are Helmut Draxler: Die Abdrift des Wollens (2016) and Sabahattin Ali: Die Madonna im Pelzmantel (1940-43/german edition 2008)


Installation shot „Die Kunst der Türken/The Art of the Turks/Türklerin Sanati“ (curators Manuel Graf, Hans-Jürgen Hafner), Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 2015 Photography: Katja Illner Courtesy Kunstverein für die Rheinlande und Westfalen


Photography: Katja Illner Courtesy: Kunstverein für die Rheinlande und Westfalen

Marco Antonini


photo by: Daniele Bianchi

Marco Antonini is an independent writer and curator. From 2011 to 2016, he served as NURTUREart’s Executive Director & Curator, presenting new work by Ian Pedigo, Ivan Argote, Jonathan Ehrenberg, Meredith James, Arianna Carossa, Daniel Bejar, Nathalie Hausler, Alina Tenser, Gabriela Salazar, Deville Cohen, Lior Modan, and Steffani Jemison, among many others. Antonini’s ambitious, inter-generational group exhibitions We Are: (2011), …Is This Free? (2012), Welcome to the Real (2013), We Are: at The Luminary (Saint Louis, MO, 2013) and Multiplicity: City as Subject Matter (2014) further pushed the envelope of what was possible at NURTUREart, connecting established and emerging artists, experimenting with off-site programming and developing books and publications that helped NURTUREart reach out to an increasingly international audience.

His independent curatorial projects have been presented in New York by Japan Society, the Lower Manhattan Cultural Council (LMCC), ISE Foundation, Elizabeth Foundation Project Space, the Italian Cultural Institute, the International Studio and Curatorial Program (ISCP), Interstate Projects, and Abrons Art Center; Internationally by Bevilacqua La Masa Foundation, Venice, FUTURA Center for Contemporary Art, Prague, CCEG, Guatemala City, Random Institute, Zurich  among many others. As an independent curator and writer, Antonini has consistently championed the early work of artists who have moved on to greater and much deserved visibility and renown.

Antonini’s articles, essays, interviews, short stories and poetry have been published worldwide on magazines, journals, catalogs and other exhibition-related publications. His two most recent books projects are Golden Age: Perspectives on Abstract Painting Today (NURTUREart 2015), co-edited with Christopher K.Ho and collecting essays and interviews dedicated to the return of abstraction in contemporary painting, and Experimental Photography (SHS/Vetro/Thames and Hudson/Prestel, 2015) a book of interviews and texts dedicated to experimental photographic practice.

See an archive of past and current work here.

Premiere of Kim Hoeckele's theatrical piece Rosy-Crimson. Courtesy, NURTUREart.

Premiere of Kim Hoeckele’s theatrical piece Rosy-Crimson. Courtesy, NURTUREart.


Exhibition view of Steffani Jemison’s solo exhibition Prime. Courtesy, NURTUREart.

Robert Lyons

ral-2-copyRobert Lyons lives and works in Berlin, Germany and New York State. He has taught extensively in the USA and Europe at various institutions including: Emily Carr College of Art & Design, University of Washington, Photographic Center Northwest, International Center of Photography, and the Ostkreuzschule in Berlin. He received a M.F.A. from Yale University in 1979.  Lyons has received numerous awards for his work including: NEA Survey Grant, Ford Foundation Grants, and most recently a MacDowell Residency 2009. His work has been widely exhibited in the United States and Europe and is represented in numerous permanent collections including:  The Metropolitan Museum, Seattle Art Museum and the University of Washington – Henry Art Gallery, Microsoft Corporation, Hallmark Collection of Photography, Nelson-Atkins Museum, and Beth Hatefutsoth Museum of the Diaspora, Tel Aviv, Israel.

Robert Lyons currently directs the HAS International Limited-Residency MFA Photography Program at the University of Hartford. He is also a visiting lecturer at the Ostkreuzschule in Berlin.

His published books include:  Egyptian Time, Doubleday -1992, Another Africa, Bantam Dell Doubleday – 1998, The Company of Another, – Galerie Michael Schultz Berlin -2003, and Intimate Enemy: Voices and Images from the Rwandan Genocide-Zone Books 2006. His website is here.



Andrea Scrima


Photo: Alyssa DeLuccia

Andrea Scrima was born in New York City and studied fine arts at the School of Visual Arts in New York and the Hochschule der Künste, Berlin, Germany, where she lives and works as a writer and translator. Scrima’s first book, A Lesser Day, was published in 2010 by Spuyten Duyvil Press, Brooklyn, New York; a German edition will be published by Droschl Verlag in 2018. Excerpts from an ongoing blog titled all about love, nearly are included in Wreckage of Reason II (Spuyten Duyvil, 2014) and the forthcoming anthology Strange Attractors (edited by Edie Meidav). Scrima is currently completing a second novel, titled Like Lips, Like Skins. An earlier version of this novel was awarded Second Prize in the Glimmer Train Fall 2010 Fiction Open.



Scrima was the recipient of a literature fellowship from the Berlin Council on Science, Research, and the Arts in Berlin, Germany (Senatsverwaltung für Wissenschaft, Forschung und Kultur, 2004) and won a 2007 National Hackney Literary Award for Sisters, a short story from an ongoing collection. In the spring of 2011 she took part in a writing fellowship at the Ledig House / Art Omi residency program in Ghent, New York. Her literary criticism appears regularly in The Brooklyn Rail, Music & Literature, and The Quarterly Conversation (recent essays on: Lydia Davis, The Collected Stories; László Krasznahorkai, Seiobo There Below; Robert Walser, The Walk). She has been senior editor of the online arts journal Hyperion: On the Future of Aesthetics.

Prior to her decision to focus on literature, Scrima worked as a professional artist for many years, incorporating short fiction pieces into large-scale text installations. She has received numerous awards for her artistic work, including a grant from the Pollock-Krasner Foundation (1989/1990) and the Lingen Art Prize (Kunstverein Lingen, Germany; 1996) and has been represented in exhibitions at Franklin Furnace in New York, the Contemporary Art Center in Moscow, Kunst Haus in Dresden, the Museum für Neue Kunst in Freiburg, the Neuer Berliner Kunstverein, and many other institutions and commercial galleries internationally.

An excerpt from A Lesser Day can be read on Scrima’s website, and an in-depth interview on the book was featured in The Brooklyn Rail.  The excerpt below, taken from Scrima’s new novel, Like Lips, Like Skins, is a description of the artistic process and ties in to the interview. Scrima is currently reading Ann Quin’s Passages; Nathalie Sarraute’s Childhood; and Violette Leduc’s La Batarde.

Making art was a form of archaeology, of excavating the inscrutable. It revealed itself through fragments, through their reconstruction. Why this dot, this smear—why did they resonate in such an unmistakable way? It was essential to recognize these events, to understand the patterns of their repetition and to narrow them down to a visual vocabulary. These were the elements at our disposal, there were never more than a handful of them, and they remained irreducible. Process was everything: there had to be a truthfulness to it, a conjunction between the act and the impulse that had propelled it, an economy in which every mark stood for something—not as a means to an end, but at the very moment it was being made. It required a suspension of conscious will; it was about locating one’s inner sensorium and learning to pay attention to it, to trust it. It was the point of convergence between the self and the world: the place where, if only for an instant, a universal language might be revealed. I stepped back to view the large canvas. Subtle shadows were visible across the white expanse now, caused by the topography of the scraped surface beneath it. Swirls of pigment had come to rest in the turpentine on the floor, and as I bent down to spread a few sheets of newspaper over the turbid puddle, my reflection bent down with me and reached its fingertips up toward my outstretched hand. 

Bernd Upmeyer


Bernd Upmeyer in his Rotterdam-based Bureau of Architecture, Research, and Design (BOARD)

Bernd Upmeyer is a Germany-born and Rotterdam-based architect and urbanist. He is the founder of the Bureau of Architecture, Research, and Design (BOARD) and the editor-in-chief and founder of MONU Magazine on Urbanism. BOARD was founded in Rotterdam in 2005 and is active in many fields: as an architecture, urban design, and design practice and as a research board on urban and architectural issues. Upmeyer studied architecture and urban design at the University of Kassel (Germany) and the Technical University of Delft (Netherlands). He holds a PhD (Dr.-Ing.) in Urban Studies. Currently BOARD is working on the design of a public square of 2.500m2 in Ivry-sur-Seine, a commune in the south-eastern suburbs of Paris.


Cover of MONU – Magazine on Urbanism #24 on the topic of “Domestic Urbanism”

Since June 2012 Upmeyer and his office BOARD are part of the group, led by STAR – strategies + architecture , that has been chosen as one of the new six teams of architects and urban planners appointed by the Atelier International Grand Paris (AIGP)  to be part of the Scientific Committee for the mission: Grand Paris: pour une métropole durable. As one of their contributions to the Atelier they created a project entitled “The Legend of Grand Paris, or How Paris Became Great” which tells the story of how Paris became greater. It is the first legend of the Grand Paris territory, in which Paris had to die to save Grand Paris.


Cover of “Binational Urbanism – On the Road to Paradise”. The research examined the way of life of people who start a second life in a second city in a second nation-state, without saying goodbye to their first city. They live in constant transit between two homes, between two countries.

Upmeyer is the author of the book “Binational Urbanism – On the Road to Paradise”, in which he creates a theory of binational urbanism, a term coined by him. Binational Urbanism examines the way of life of people who start a second life in a second city in a second nation-state, without saying goodbye to their first city. They live in constant transit between two homes, between two countries. Binational urbanists come from all strata of society, from the highly educated and cosmopolitan creative classes to the working class. Through their continuous change of location, binational urbanists appear to be living in a state that is characterized by a constant longing, or a constant homesickness, for the other city.

The book mentioned in the interview: Modern Man: The Life of Le Corbusier, Architect of Tomorrow, Author: Anthony Flint

Click here to get the magazine. 


Design for a floating theatre on the river Spree in Berlin, Germany