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Leandro Erlich, Window and Ladder — Too Late for Help (detail), 2008
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one to watch
interview
media
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Art in New Orleans
October 29-November 11, 2008
Just over three years since Hurricane Katrina made landfall in Louisiana,
New Orleans still deserves and needs the world's attention. On November 1, in the largest
biennial of international contemporary art to be organized in the United States, the inaugural
Prospect.1 New Orleans brings scores of international artists and
spectators to the Big Easy. This issue of Artkrush unpacks the sprawling event, touching on
Kalup Linzy's short episodes of homespun drama and the tricky
installations of cover artist Leandro Erlich — who sits down with
Artkrush editor Paul Laster to discuss his P.1 contribution and dip a toe in his Swimming Pool,
presently installed at New York's P.S.1. Our media pick frames the iconic, edgy portraits of
Pierre et Gilles in their recent Taschen monograph, while, beyond New Orleans, we review
Doug Aitken's multimedia exploration of the American landscape at New York's 303 Gallery and an intimate traveling
exhibition of small abstract canvases by Tomma Abts at Los Angeles' Hammer Museum.
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Vacancy at the Guggenheim
(New York Times, October 15)
Sure, you've walked down Frank Lloyd Wright's spiral during regular visiting hours, but have you ever had a sleepover at the
Guggenheim? From November 1 to January 9, 2009 those willing to shell out $550-800 (or for students, $260 on Mondays) can spend the
night in Carsten Höller's new installation, The Revolving Hotel Room, on view daily as part of the exhibition theanyspacewhatever. For the lucky few who snag overnight reservations, the room comes equipped with amenities — wardrobe, mini-bar, coffee maker — and, what's
more, it does indeed revolve on a series of glass discs. In a related story, on October 30, the museum completes a three-year restoration of its iconic facade and celebrates with free admission and
a nighttime projection of Jenny Holzer's For the Guggenheim.
Crisis Catching Up to Art
(International Herald Tribune, October 20)
The international financial crisis has grabbed the art market's tail, and the bubble might have burst. At a recent Sotheby's
auction, Damien Hirst's Beautiful Jaggy Snake Charity Painting fetched less than its already low-aiming estimate, as did works by Andy Warhol and Gerhard Richter. Reports from the Frieze Art Fair described chilly sales, while other auctions sagged as well. Though the blue chips may be down, some say that younger artists and smaller galleries might be hurt worst by the downturn, while still others claim that museums will experience tough times of their own. A few optimists, however, see some daylight in the occasional winning bid, such as Lucian Freud's portrait of Francis Bacon, which recently brought in over $8.5 million on the block.
Kanye Teams With Vanessa Beecroft
(TheFADER.com, October 15)
Call it unlikely; call it strange; call it what you will. Chart-topping hip-hop artist
Kayne West celebrated the release of his new album, 808s & Heartbreak, at Los Angeles' Ace Gallery in collaboration with artist Vanessa Beecroft. As the record played, 40 nude models stood in the space, their faces obscured by wooly masks — a characteristic performance for Beecroft. The artist said that
she was surprised to be contacted by Mr. West, but claimed, "There were a few things about his album that touched my personal
life." As for Kanye, he explained, "I've always been a fan of Vanessa's work. I like the idea of nudity."
Chanel Mobile Pavilion Hits Central Park
(Bloomberg.com, October 22)
Zaha Hadid's curvy, nautilus shell-like
pavilion has taken up temporary residence in Central Park. Commissioned by
Chanel designer
Karl Lagerfeld, the structure — comprised of white fiberglass panels set
on a steel frame — contains artworks inspired by
2.55,
the fashion house's iconic quilted purse on a chain strap.
The voice of French actress Jeanne Moreau
guides visitors past works created by Yoko Ono and
Nobuyoshi Araki,
among others. It doesn't add up to a perfect fit for New York Times critic Nicolai Ouroussoff, however,
who decried
the project as an attempt "to drape an aura of refinement over a cynical marketing gimmick." In related stories,
the stars
didn't seem to mind the goods on display, but the NYC Buildings Department ruled that a
57th Street ad
for the show had to go.
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Largest LA Biennial to date more »
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Hervé Descottes lights up NYC more »
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Rockefeller Foundation announces contemporary art residency more »
Media artists remix presidential debates more »
Tate grabs six contemporary works at Frieze more »
Urban art on the auction block more »
Eungie Joo tapped as commissioner of the Korean Pavilion at Venice more »
Huma Bhabha snags Aldrich Emerging Artist Award more »
Denver offers a new kind of art philanthropy more »
Sotheby's loses $15 million on auction guarantees more »
Black Panther artist Emory Douglas honored with new show more »
Governors Island to get artist studio and exhibition center more »
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Bunk beds forecast doom in Tate Modern's Turbine Hall more »
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Patricia Faure, instrumental LA art dealer, dies at 80 more »
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[ Prospect.1 New Orleans ] |
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Alexandre Arrechea / Willie Birch / Cai Guo-Qiang
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Mirtha — a 64-foot-long and 22-foot-high giant ark, made from scavenged construction debris and covered in distressed posters — rests in the Lower Ninth Ward, a neighborhood of New Orleans ravaged by Hurricane Katrina in August 2005. The sculpture by LA-based artist Mark Bradford forms one of the major on-site installations created for the inaugural Prospect.1 New Orleans (P.1), which opens November 1 at venues across the city, from a Baptist church to Loyola University and local historical museums.
New Orleans is the latest city to enter the worldwide biennial circuit, as it still looks to rebuild in the wake of the hurricane
that flooded 80% of the city and dispersed one million Big Easy residents. A mega-exhibition with 81 artists from 30 countries,
P.1 is led by founding director Dan Cameron, former senior curator of the New Museum and co-curator of the 2003 Istanbul Biennial and the 2006 Taipei Biennial. Long attracted to the New Orleans' distinct culture, Cameron brings not only major art-world names, but also showcases the
Bayou's local artists. In doing so, he hopes to bridge what many biennials only exacerbate: the stark divide between high-powered
international art and local traditions.
Many of the international artists whom Cameron has invited to the French-influenced American locale — where Monet and Degas
first exhibited in the US — have created works specifically for the biennial. Alexandre Arrechea, who is a former member of the Cuban collective Los Carpinteros, has crafted a knee-high, branch-like wooden bucket that resembles the shape of the Mississippi River (which snakes through
the city) out of lumber reclaimed from the bottom of the riverbed. Paul Villinski's Emergency Response Studio, a solar-powered artist's studio housed in a mobile home, echoes the FEMA trailers that many New Orleans residents were issued
by the government after their homes were destroyed. Also working with reclaimed materials, Nari Ward exhibits his site-inspired work in the now-vacant, historical Battleground Baptist Church in the Lower Ninth Ward; Diamond Gym: Action Network is a diamond-shaped structure, formed from discarded exercise equipment, surrounded by mirrors, and inspired by the Harlem
offices of Al Sharpton’s National Action Network.
Additionally, P.1 includes an international roster with a strong showing of artists from Asia, such as the Beijing Olympics'
fireworks master Cai Guo-Qiang, up-and-coming new-media artist Cao Fei, and installation artist Haegue Yang. A strong South American contingent — often left off international biennial rosters — includes Brazilians Beatriz Milhazes and Rosângela Rennó. Connecting the international and the local, Steven G. Rhodes is a rising young sculptor from New Orleans, now exhibiting in New York and Los Angeles, whose recent projects reflect the
horrors of Katrina. These artists share the limelight with two of New Orleans' best: John Barnes Jr. creates mixed-media sculptures with a distinct, folk-art-inspired iconography, and Willie Birch's black-and-white drawings of local residents and rituals capture the Cajun city's unique heritage. P.1 aims to be the first
biennial where international visitors come to see the city and the art as a cohesive whole — an exhibition that reveals the
location itself, while also looking abroad at the larger world.
- H.G. Masters
Prospect.1 New Orleans takes place in outdoor sites and indoor venues throughout the city from November 1 to January 18, 2009.
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Place Makers: Contemporary Queensland Architects
Brisbane
Queensland Art Gallery
Now through November 23
Queensland Art Gallery's Place Makers exhibits more than 20 local architects whose work mirrors the social and economic transformation of the Australian state
over the past two decades. Despite the demanding subtropical climate, Arkhefield's Ballandean House employs an eco-friendly, sustainable design that closely integrates the landscape — the same challenges met by Richard Kirk's AIICS, a school for the crowded indigenous population of southwest Brisbane. Both structures embrace Queensland's enviable
sunshine while maintaining the airy and open design that has characterized the region's architecture for over a century. Along
with a strong visual emphasis on the lush environment, the exhibition includes elegant wooden models and spotlights contemporary-design
motifs, such as the shimmering moiré effect of m3architecture's new building for the Brisbane Girls Grammar School.
- Niki Baylart
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Tomma Abts
Los Angeles
Hammer Museum
Now through November 9
When German-born, London-based painter
Tomma Abts won the Turner Prize
in 2006 with her small, rational abstract paintings, she dethroned installation art's
long reign. Her first major
museum show in the US, which began its tour at New York's
New Museum, now brings its understated
elegance to the Hammer. In an intimate showing of 15 identically sized paintings and several
works on paper completed in
the last decade, Abts reasserts the rigorously defined spatial dimensions upheld by early
20th-century modernists. Her intuitive approach — evident in canvases such as the red,
zigzag-streaked Mehm
and the muted, triangle-filled
Lübbe — involves an intense overlapping of layers, devoid of
compositional logic or a plan. New perspectives mysteriously unfold and expand before the eyes,
linking Abts to British female predecessors Paule Vézelay and Marlow Moss.
- Leila Khastoo
A comprehensive catalogue, published by Phaidon Press, accompanies the traveling exhibition.
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Doug Aitken: Migration
New York
303 Gallery
Now through November 8
Following Sleepwalkers, last year's acclaimed projection series at MoMA, Doug Aitken presents an exhibition of new work at New York's 303 Gallery. Installed across two spaces, Migration includes 30 watercolors that are part abstraction and part space-age architecture, along with text-based sculptures comprised
of letter-shaped lightboxes. One of the latter, Star, evokes a celestial constellation of lights in a cityscape at night. The exhibition's highlight is Migration, a mesmerizing three-channel video featuring wild animals wandering through bland motel rooms. Utterly at odds with the garish
neon signs and shabby furniture surrounding them, these creatures nonetheless exude a kind of dignity. The motel shots are juxtaposed
with images of smokestacks and oil drills, presenting a rather soulless American landscape, stripped of its natural beauty.
- Lisa Varghese
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Reconstruction #3: Artists' Playground
Winchcombe, Gloucestershire
Sudeley Castle
Now through October 31
For Sudeley Castle's third annual
contemporary art exhibition Reconstruction #3
, curators Mollie Dent-Brocklehurst and
Elliot McDonald commissioned 15 artists to construct sculptures based on the theme of recreation;
the resulting works are situated throughout the majestic grounds of the Tudor castle. Near the entrance,
visitors stumble across Zaha Hadid's giant, V-shaped slide
Z-Stream.
Lawrence Weiner's text piece
On the water...in the pond sits in
the center of the duck pond, while
Henry Krokatsis' wax-candle antlers, See Better Daze,
hang in the private chapel, and his gothic pulpit, Ambo,
intertwines with an oak trunk, around the corner from Jeppe Hein's mirrored
labyrinth. Each work engages the surroundings in a different way, leading
visitors around the gardens like a treasure hunt, and blurring the boundary between art and child's play.
- Sarah Stephenson
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Ilkka Halso: Tree Works
Leipzig
Maerzgalerie
Now through November 1
In Tree Works at
Leipzig's Maerzgalerie, Finnish artist Ilkka Halso plays the genius surgeon,
with nature as his anesthetized patient. His large-scale photographs from the past decade depict a fantastical version
of the
natural world cradled by futuristic technology, eerie artificial lights, and elaborate construction equipment — a world
in
which nature requires drastic preservation efforts.
Museum shows an enclosed grove of trees illuminated by large lights;
Restoration 7 captures work
mid-operation as a tree is uprooted, suspended in air, and cut wide open. The maniacal reconstructive efforts are
juxtaposed with scenes of a society alienated from the Earth's workings. In
Tree Revolutions I, a tree trunk split
into two-dozen slices to form a floating circle; though absurdist, Halso's vision of nature as an
amusement park ripe for human intervention
isn't so far off.
- Adda Birnir
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[ Kalup Linzy ] |
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Kalup Linzy
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The art world might not be big enough for Kalup Linzy, whose practice includes
video and performance,
music and drawing, and a pantheon of characters that rivals daytime
television. Elastic and protean, Linzy's art pushes beyond the traditional boundaries of the white cube. In the flesh,
he teeters
between performance artist, singer, and variety-show emcee, equally at home in a nightclub, gallery, or on the
radio. On the screen
(and on the Internet), he's best known for his short, irreverent videos inspired
by soap-opera drama.
Before shooting his videos, Linzy generally writes and records the entire dialogue, applying simple sound effects to distinguish
the characters. 2003's
All My Churen follows the extensive phone-gossip drama of the Braswell family;
some characters are sped up to chipmunk-like chatter, while others are pitched down to a slow, bass-laden slur, but all
are played by the artist himself —
lip-synching the dialogue with schizophrenic flair. While Linzy's drag costume is often plainly obvious (a wig can't disguise
a bearded man),
his treatment of sexuality, race, and gender roles is expertly nuanced. As his works have expanded to include others, he
has made a point of casting straight, gay, and transgender actors of all races.
For the inaugural Prospect.1 New Orleans, the Brooklyn-based artist premieres
Keys to Our Heart. Shot in the Big Easy, the video features Linzy as the
strong-willed matriarch, advising a set of star-crossed lovers in their struggle with intense feelings for one another.
Foul-mouthed and
slang-ridden conversation belies the prim and proper setting of tea parlors and characters dressed in dapper costumes. In
conjunction with the
biennial, the artist also performs live in Kalup Linzy's
Members Only as one of his best-known characters: the love-struck transvestite singer singer Taiwan. With songs about nuts and lollipops that allude to more adult flavors,
expect to find Linzy's true message far beneath the surface.
- Christopher Y. Lew
Keys to Our Heart is on view as part of Prospect.1 New Orleans from November 1 through January 18, 2009. Kalup Linzy's Members Only, produced by Art Production Fund, takes place at New Orleans’ Sweet Lorraines's Jazz Club on November 1.
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[ Leandro Erlich ] |
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Leandro Erlich View more images » |
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| A master of illusion, Argentinean artist Leandro Erlich has amazed
audiences with whimsical installations, sculptures, photographs, and videos for the past decade. His video installation
Le Trottoir (The Sidewalk) is one of the highlights of
the Chanel Mobile Art exhibition, and his celebrated Swimming Pool
installation is currently enchanting visitors at P.S.1 Contemporary Art Center
in Long Island City. Artkrush editor Paul Laster recently sat down with the globetrotting artist at New York's Gramercy
Park Hotel to
discuss his past work and his new installation at Prospect.1 New Orleans.
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AK: The first work I saw of yours was Rain,
an installation in the 2000 Whitney Biennial that presented
the viewer with the illusion of seeing someone through an apartment window on a rainy day. It was very clever and eerie.
How did
you come up with that idea and how was the illusion constructed?
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LE: Like most of my projects, the idea came from the consideration of everyday architecture. I'm interested in the background
places that hold our experiences and emotions on a daily basis, even though we are unaware of them. For Rain, I looked for a particular mood: a nostalgic scene, where the viewer participated in the act of contemplation. The windows
looked out on a narrow space between two extremely close urban buildings. I built an enclosed set and used pumps to recycle
the rain. In the end, as often happens, Rain took on a life of its own and became less about nostalgia and more about a violent storm.
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AK: The following year, I stumbled upon a group show at Kent Gallery in New York that included Turismo. For this series, you created a wintry alpine set during the 7th Havana Biennial and photographed Cubans playing on the fictional slope. Why snow in Cuba, and how did the public react?
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LE: Around that time, I was invited to several international biennials and realized that the best way to approach this type of
exhibition was to play with context. I decided to engage the social, political, and geographical context of Havana, rather
than deny it. I collaborated with Judi Werthein, a fellow Argentinean artist, to build a fake landscape that would never exist in the Caribbean. By photographing Cubans
in a snowy environment, we were able to metaphorically transport them to a place that most had never visited. Few Cubans are
allowed to leave the country, so the participants found the project somewhat ironic. They would leave the set with a Polaroid
and jokingly say, "Look, I've been skiing in Switzerland."
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AK: The art world enthusiastically embraced one of your earlier installations, Swimming Pool, from 1999. One version is on permanent display at the 21st Century Museum of Contemporary Art in Japan, and another is currently on view at P.S.1. What is it about this piece that captures the imagination of the viewer?
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LE: I think it's the simplicity — the fact that something extraordinary can happen in such a simple way, technically and conceptually.
That's an important factor in all of my projects. The viewer can trace the process; it's recognizable. The trick is not presented
to deceive the viewer, but to be understood and resolved by him. Such an engagement with the work involves the viewer's participation
and leads to the thought that reality is as fake and constructed as the art; it's a fiction. Although it's the fiction that
we all agree to live in. I'm a very optimistic person, and understanding that reality can be many things at the same time
increases our awareness of life, politics, and our surroundings in general.
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AK: 2005's Staircase installation, which you created for Albion in London, is very amusing. You almost get vertigo by looking at the photo documentation. How difficult was it to construct
the piece in the gallery and what was the optimum point for experiencing it?
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LE: It was a difficult piece to build. It was partially produced in Buenos Aires, shipped to London by boat in two containers,
and then installed and finished in the gallery space. It really did give you some sort of vertigo — just by looking in front
of you rather than looking down. My work has a cinematographic sensibility. It's a stage, where the viewer becomes an actor.
Staircase riffs on an iconoclastic scene from Hitchcock: looking down the staircase. The viewer not only interacts with the work; he interacts with the other viewers. Like in Rain, the person across the way could be a neighbor, but it's more likely just another member of the public. The person on the
staircase could be two or three floors up or down. There's a relation between all of the work and a path for viewing it, although
each piece is proposing something slightly different — be it something physical, perceptual, or contemplative.
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AK: The building facade-and-mirror projects that you did in Paris and Japan are truly fantastic. When did you first conceive that idea? How difficult was it to make
such a large set? How did people interact with it?
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LE: The project was first built for the annual Parisian art festival Nuit Blanche, which spreads throughout the city for one night. I had encountered the festival previously, so I already had some considerations
in mind. Because so many people stroll the streets, I realized the project had to be large and accessible, even if the viewers
did not physically interact with the work. There's something magical about the night, and something quite romantic about lasting
only one night. I wanted to do a project that would be like a dream, one that people could actually photograph. The following
morning, everything was gone.
In Japan, I was invited to participate in the Echigo-Tsumari Art Triennial in a mountainous area filled with small villages. The triennial aimed to revitalize the region through art, and my goal was
to make the art accessible. It became clear to me that the project should engage common people, not only art lovers. The organizers
were not that happy with the model of the facade that I used, and they asked me why I picked it. I maintained that it's an
ordinary house, like 98% of the architecture in the region. There are probably only three or four traditional Japanese homes
in the whole area. Most of the houses look exactly like the one that I built for the project. It's spontaneous architecture. When someone decides that they need a window, they just cut a hole in the wall and insert
whatever size window is available. Art has the power to define beauty. I thought it was important for people to come and interact
with an artwork that looked like their own houses, not some ideal.
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AK: In the 2007 photographic series Through the Wall, two women seem to come out of and pass back through a brick wall. What is it about these simple tricks of the eye that amuse you?
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LE: The trick of the eye triggers the detonation of experience. The visual remains in the eye even though our perception changes.
It changes in a much slower way than other aspects of knowledge. Two-hundred years from now, viewers will see people underwater
in Swimming Pool in a very perceptual and physical way. These are elements like the oil for a painter or the marble for a sculptor. They are
the tools I use to build metaphors and to construct fictions, and many of those fictions and metaphors are based on something
that is physically impossible. That's what really amuses me about it.
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AK: In the Chanel Mobile Art pavilion, you made a video installation that presents the buildings on a Parisian street with the
people living and working in them visible through the windows. The trick here is that the viewer sees the entire scene as
a reflection in street puddles while walking on a sidewalk. The end result is sublime, but it must have taken a lot of production
to achieve the illusion. How long did you work on it and what were the greatest problems to overcome?
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LE: The biggest problem was deciding how to participate in an exhibition about Chanel. My work has never been about fashion. The
challenge was to produce a work that added something to the exhibition, but remained a work of my own interests. Art always
has to deal with context, but Chanel is a very particular one. The exhibition implies many things: it's obvious marketing
for the brand, and it's a traveling pavilion — a capsule. I decided to capture a moment from Paris, where I've lived for the
past four years, and put it into this capsule to travel to different cities. The viewer is invited to take part in a journey,
which lasts only a few minutes, on four meters of sidewalk. It was technically difficult to make, but it was fun. That's often
how it is. There's the research, the challenge of how to do it, and then the process of actually making the piece. It's all
very stimulating. I'm happy because the end result is close to what I conceived: a poetic work that's calm and nostalgic.
This is the piece I would have made if someone asked me to do a portrait of Paris.
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AK: At Prospect.1 New Orleans, you have an installation in the Lower Ninth Ward. When did you visit New Orleans and what was you first impression?
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LE: I first visited in 1999, when I was doing the CORE residency program in Houston. I was enchanted by New Orleans. Coming from a Latin American culture, I felt close to the architecture
and the European feel of downtown New Orleans. It was not until many years later, after Hurricane Katrina, that I went back to visit the city to view possible sites for the biennial. Downtown was pretty much the same. It wasn't
badly affected by the hurricane. Then I went to the Lower Ninth Ward, which had been struck hard. The whole neighborhood had
been washed out by the storm. When someone first took me there, I thought it was an underdeveloped area. Then I saw cement
foundations from houses that were made out of wood, and I realized that nothing else remained. It gave me goose bumps, and
strangely reminded me of visiting the Rothko Chapel. There's no trace of the tragedy, just the remaining parts of houses. Knowing the history of what was there and that it's
all gone — it's incredible. It was an extraordinary place. There's a spiritual sense to it. After visiting that site, I realized
there was no way that I could bring preconceived ideas to the site. It was the presence of the absence that struck me.
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AK: What do you hope to convey with your installation that you've made there, Window and Ladder — Too Late for Help?
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| LE: Window and Ladder, like so many of my works, presents an impossible situation. The ladder is leaning against a window from the remaining parts
of a house. It's intended to commemorate a loss. We can never forget what happened and we have to rebuild. Bringing back what
was lost in the flood is important, but you have to be sure that the memory is never washed away.
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| Leandro Erlich's work is on view as part of Chanel Mobile Art in New York's Central Park through November 9;
at Galleria Continua
in San Gimignano, Italy through November 15; in the Singapore Biennale through
November 16; in the Liverpool Biennial through November 30; in Prospect.1 New Orleans
from November 1 through January 18, 2009; and at P.S.1 Contemporary Art Center through April 13, 2009. |
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Pierre et Gilles: Double Je, 1976-2007
Paul Ardenne, Jeff Koons, Charles Penwarden, Stefan Barmann, and Wolf Fruhtrunk
Taschen
You'd be hard pressed to find two artists more outrageous than Pierre et Gilles.
Working collaboratively since 1976, they make other gay art partners — Gilbert & George and
McDermott & McGough, for instance — look absolutely tame. Inspired by art history, cinema,
mythology, pop culture, religion, and literature, the duo creates
elaborately staged, hand-painted photographic portraits of celebrities and
ordinary (yet exceptionally beautiful) people. Taschen's
monograph of Pierre et Gilles' work, published in conjunction with their 2007 retrospective at the Jeu de Paume in Paris, begins with
an illustrated biography of the pair that tells of their transition from an age of innocence to an era of opulence and wisdom.
The artists' subjects range from
naked cowboys and
sailors to
Casanova, Adam and Eve, and gay icon Saint Sebastian; musicians are frequent models, including a wide-eyed Iggy Pop, a beatific Madonna, and a deathly pale Marilyn Manson. A portrait of CocoRosie's Bianca and Sierra Cassady even graced the cover of their 2007 album The Adventures of Ghosthorse and Stillborn. A chapter of self-portraits displays an amazing array of personal fantasies, and an essay by critic and curator Paul Ardenne provides insight into Pierre et Gilles' kitsch aesthetic and humanism.
- Paul Laster
Pierre et Gilles premiere a new series of iconic portraits at Prospect.1 New Orleans, on view from November 1 through January 18, 2009.
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Cover Art
Leandro Erlich
Window and Ladder — Too Late for Help, 2008
14 3/4 x 5 1/4 ft./ 4.5 x 1.6 m
© Leandro Erlich
Courtesy the artist, Sean Kelly Gallery, New York, and Ruth Benzacar Galeria de Arte, Buenos Aires
All Rights Reserved
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Editor
Paul Laster
Deputy Editor
Joel Withrow
News Editor
Greg Zinman
Reviews Editor
H.G. Masters
Contributing Editors
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Shana Nys Dambrot
Sarah Kessler
Doug Levy
Andrew Maerkle
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Sarah Stephenson
Contributors
Niki Baylart
Leila Khastoo
Christopher Y. Lew
Lauren McKee
Lisa Varghese
Mailer Design
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Mark Barry
Cultural Partner
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