In a remembrance in PAJ: A Journal of Performance and Art, Richard Kostelanetz described his fellow artist Dick Higgins as a prolific, unlimited source of creative production: “One principle clear to him from the beginning was that there should be no limits upon a creative person’s activities […] Richard C. Higgins was really at least three people in one big body.”
In his works, image and text are so deeply intertwined with one another that they nearly operate as one. A Primer for Cadavers, Atkin’s first collection of writing, is devoid of the visual immersion accustom to his work.
The diversity of Richard McGuires work is surprising; from his illustrations for The New Yorker and McSweeneys and published graphic novels Here (2014) and Sequential Drawings (2016) that treat the book as a sculptural objectsomething Ive argued in a previous review of Hereto his musical and performance career as a founding member of the post-punk band Liquid Liquid.
On the 75th floor of an apartment tower that overlooks the fork of New York City’s two great rivers, stylist David Casavant lives with his archive.
Picking up the first issue of Berlin in April 1996 was like coming upon something one had imagined but never expected to encounter: historical fiction in the form of a comic book bearing both literary aspirations and compelling, art historically savvy imagery.