We are excited to announce a party to celebrate the US launch of Issue 14 at Signal Gallery in Brooklyn, on Friday 16 October. Please join us for drinks, poetry from NAJA MARIE AIDT, and a short conversation with art critic and historian HAL FOSTER, moderated by JULIAN ROSE.
HAL FOSTER is an American art critic and historian, co-editor of October, and frequent contributor to Artforum and London Review of Books. His latest book, Bad New Days: Art, Criticism, Emergency, is out now from Verso Books. An interview with Foster is featured in The White Review No. 14.
Originally from Greenland, NAJA MARIE AIDT is a Danish poet and author. She received the prestigious Nordic Council’s Literature Prize in 2008 for her collection Baboon. Baboon was published in the states by Two Lines Press in 2014, and received the PEN Translation Prize in 2015. Aidt’s first novel, Rock, Paper, Scissors, was published in August 2015 by Open Letter Books. Aidt’s short fiction will appear in The White Review‘s November online issue, translated by Denise Newman.
JULIAN ROSE is a senior editor at Artforum, and a founding principal of the design studio Formlessfinder. His design work has been exhibited at institutions such as The Museum of Modern Art in New York, Storefront for Art and Architecture, and The MAXXI in Rome. His writing has been featured in Artforum, Log, and October. He edited, with Garrett Ricciardi, Formless, published by Lars Muller in 2013, and, with Spyros Papapetros, Retracing the Expanded Field: Encounters Between Art and Architecture, published by the MIT Press in 2014.
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The White Review No. 14 features interviews with the art critic, historian and October journal editor Hal Foster; British artist Mark Leckey, whose hugely influential film ‘Fiorucci Made Me Hardcore’ was memorably described by Ed Atkins as ‘better than art’; and the novelist Rachel Cusk, who talks about her commitment to ‘writing sentences that aren’t the product of sentences written by other people.’
Emmanuel Carrère, a long-time favourite of The White Review, contributes a newly-translated piece reflecting on his search for ‘the dice man’, an American author whose account of giving his life up to chance has inspired a cult following to do likewise. In his account of another underground movement, Thomas Dylan Eaton reflects on ‘Necrorealism’, an punk-infused, dadaist art collective that flourished in Russia during Glasnost. Elsewhere, John Douglas Millar queries the current vogue for conceptual poetry, wondering if it is anything more than a thin copy of a worn-out conceit borrowed from the art world. The young Irish writer Kevin Breathnach, meanwhile, debuts in the magazine with an essay on the difficulties of being an Irishman in Madrid in the middle of winter. ‘I had not given the idea of living alone much thought,’ he writes. ‘What do people do? I unpacked a bit. I tried to get the internet working.’
Painter and sculptor Henning Bohl’s playful, minimalist explorations of three-dimensional form and the possibilities of representation occupy our central pages; emerging British artist Oliver Osborne contributes a pull-out insert; and our cover is by Chicago-born feminist painter Sue Williams.
2013 Granta Best of Young British Joanna Kavenna’s short story ‘Beetle’ is an unsettling, surreal account of how to disappear in a surveilled society, and we are delighted to publish the winner of our 2015 Short Story Prize, Owen Booth’s picaresque ‘I Told You I’d Buy You Anything So You Asked For A Submarine Fleet’. We also present poems by one of the UK’s brightest young talents, London-born poet Rebecca Tamás, and Zimbabwean poet Togara Muzanenhamo.
Image: Sue Williams, ‘Country First’, 2008
