ROBIN RICHARDSON We’re Just Beasts with Big Brains Tipsy on the stoop beside a stone dog, faithful as the hurricane that claimed his face. It’s okay. The sidewalk’s arching orangetowards a chanting patch of shrubbery; it chants your name. Or does it state the ways of gods, or god, or something worse?I have misread myself for years: open as an infant crow below the worm. At my feet some German Shepherd, older than his owner, begsto
Certainly one of Canada’s most recognized artists, Michael Morris first came to prominence in the 1960s as a leading member of Vancouver’s burgeoning avant-garde. Inspired in part by the ideals of Fluxus and Pop Art, he became associated with a generation of artists who consciously rejected the national lyrical landscape tradition that had dominated the region’s art making, opting instead to work in a fully international idiom. As a creator, Morris has worked in a
From generating performances with choreographer and media artist Jonah Bokaer, to designing sets for Merce Cunningham, to having your work curated by pop-star Pharrell Williams, collaborations are a major element of Daniel Arsham’s practice — one of the many facets of a career that has swiftly rose to international attention. He’s also part of Snarkitecture, a collaborative effort with Alex Mustonen, which blends art and architecture to create installations that attempt to “make architecture perform
Cartoon minimalist Pablo Holmberg — better known in Argentina under his pen name Kioskerman — makes four-panel comics that elude easy description. His darkly romantic strip series Edén appears in Spanish every week on his website, offering readers an ideal mix of weight & whimsy. Interview conducted October, 2014 You’ve been publishing strips on the Internet since 2004; why did you decide to start a web-comic?I was reading Tony Millionaire’s Maakies and Kaz’s Underworld online
MATT RADER Lunar New Year’s Day, Year of the Snake – for Eduardo C. Corral The cross steepling St. George’s is so empty.Meanwhile, vultures cycloneTheir shadows motherfucking slowly.Meanwhile, five bisonSkulls on the barn wall sport oneOr two small black annuitiesTerminating where their brainsWould be.Meanwhile, fingerprints, Charybdis, drains. Again,All good fortune is wealth,All ill fortune the ouroboros of luck feedingItself itself.St. George’s is so lonely eveningsAfter the Narcotics Anonymous meetings. Lunar New Year’s Day, Year of
RUTH MARTEN 3 Works 3 Worksappeared in CAROUSEL 34 (2015) — buy it here
KIM FU Lifecycle of the Mole-Woman: Infancy as a Human I’ve seen this waist-high grassand weeping tree before, in a drugstore frameand a Bollywood movie, the trunk a pivot pointfor coquettish hide and seek. On the coverof Vanity Fair it had a swing,just two ropes and a plank, a girl levitatingon the tip of her coccyx. Poofy virginalwhite dress, elegant lipstick slash, Cubist chin,she had it all. Someone proposed here,votive candles in a heart, a
JP RODRIGUEZ The Heavens “Can’t believe you can stand a basement apartment,” I say to Rob, growing damn tired of waiting for Scott to make his word. Rob just murmurs away to his iEyes, either not hearing me, or hearing me but ignoring me. No. I’m sorry. I’m misrepresenting. I guess I didn’t say it at speaking volume. I must have murmured it, out of habit, and that’s why my iEyes have picked it up
Chip Kidd is a man of many talents, with an insider’s perspective on pop culture. Universally recognized as an American master of contemporary book design — USA Today once described him as “the closest thing to a rock star” in the graphic design world — his iconic covers offer an inventive marriage of type and found images. In addition, Kidd’s work as an editor of books of comics for the mass market have helped to
BESS WINTER Daguerreotypes 1/ Hidden Mother A slight mother could be disguised as a swaddling blanket or a bassinet. A larger mother was an overstuffed chair, a settee, an imposing piece of furniture. Careless practitioners might toss a rug over the mother, barely cloaking her shape. Ill-disguised mothers looked like bodies smuggled in the night. But such mistakes were for amateurs. Sargent was an expert at hiding mothers. For instance, once he was commissioned to photograph
MIGUEL LEAL Mad Faces Mad Facesappeared in CAROUSEL 33 (2014) — buy it here
MATTHEW WALSH Scenes of a Sunday Dinner on Musquodobit Road They got the meat and pataytas, so all’s right wit the world.Even them cans a vegetables are smilin’. Father’s comin’ upfrom the harbour, he was wit the boys steamin’ them laubsters in the microwave on the backa Reed’s truck. Salt water sweetens em just fine.That rural rum went to his eyes, right red they were,just beamin’, but he’s temptin purgatory, comin’ through her doorlike that,
W.A. DAVISON Untitled Calcollages Untitled Calcollagesappeared in CAROUSEL 33 (2014) — buy it here
NYLA MATUK On Distance and Heartbreak Gift of grey from Man Ray,my heart was the shape of Australia.If p, then q. Incalculably wide marginalia.Plain, upside, down under, safe as houses. I didn’t trust the data accounts,the ville fourmillante’s thousand mounts.And that old dissonant airbus in the distance.It smarted like a barrier reef of a wound. On Distance and Heartbreakappeared in CAROUSEL 33 (2014) — buy it here
Extinction. Such an outrageous word, and made common thanks to that Darwin fellow and his incredible theories. The word has the connotation of chances irrevocably gone. But the utter demise of the pigeons is an impossibility. Not even man could destroy such a quantity. Nothing has an utter end — not the pigeons, and certainly not the human soul, which continues on and ever on. — Claire Mulligan, The Dark (2013) There was a time
Through his multi-dimensional assemblages, artist Aaron S. Moran attempts to represent the rapidly changing context of Langley, British Columbia — his once rural hometown, now a growing community 50km east of Vancouver. For Moran, this setting is foundational to his practice and is the primary source for gathering inspiration, ideas and materials for his chosen medium. He amalgamates and re-appropriates bits and pieces of intermediary sites that have been left abandoned by developers. Through collagist
MICHAEL PRIOR Everything looking different, the night’s time took me so I wandered a twisting a dive, the bends transforming me,embolisms like diamonds hanging in darkness,tissue turning grey, then clear, then fracturedwith streams of white — the wings of a fly,six legs perched upon warm skinlistening to the decompressionof meaning, unfurling iridescentin my hand. Everything looking different, the night’s time took meappeared in CAROUSEL 32 (2014) — buy it here
WILLIAM JOEL DAVENPORT 5 Graphic Artifacts 5 Graphic Artifactsappeared in CAROUSEL 32 (2014) — buy it here
NATALIE MORRILL Mrs. Fannie Winthrop, upon discovering that her husband is an octopus But she decides she mustn’t let him thinkit puts her off. She won’t throw the coversoff the thing, won’t draw undue attention, she,to his way of slithering gellish out their front doorMonday to Friday, radio twittering, him wavinghis hat — “Nice day, Fannie”: his gripslicked rope, the hat a Knox. She bought it for him, she remembers: his birthday, three years ago.Reservations
NADINE MAHER ∞ in Orange and Blue (2011) ∞ in Orange and Blueappeared in CAROUSEL 32 (2014) — buy it here