Nearly twenty years ago, artist Adam Putnam came across the photographs of Alfred Cook in the archives of the Frick Collection. Recently, he edited together a selection of Cook’s images for ASMR4, a publishing project Putnam launched in collaboration with fellow artists Dan Torop, Victoria Sambunaris, and Katie Murray. Here, Putnam and Jennifer Krasinski discuss the mysterious Cook, and why these photographs have haunted him for so long.  

JK: What is known about Alfred Cook?

AP: Almost nothing. Susan Chore, an archivist at the Frick Collection, sent me as much information as she could find, but

Vile Days: The Village Voice Art Columns 1985–1988, by Gary Indiana, edited by Bruce Hainley. New York: Semiotext(e). 600 pages.

THE FIRST THING to say about Gary Indiana as an art critic is that he was humane. His harshest judgments were arrayed against various forms of cruelty, lifelessness, and greed. That cruelty might be found in the glib sadism of a work like Tom Otterness’s Shot Dog Film, 1977, in which the artist executed an animal he got from a shelter; lifelessness, in the practice of exhibiting art in bank lobbies in the manner of a Chanel display (even if no fault of the work itself),

IN HER 1979 TREATISE on language’s limited capacity for communication, “An Inscription / / / A Work in Progress,” Swedish-American polymath Catherine Christer Hennix invokes Sylvia Plath’s radio play Three Women: “It is these men I mind. They are so flat that they want the whole earth flat.” Such resistance might well characterize Hennix herself, whose work, spanning mathematics, music, sculpture, and poetry, is anything but one-dimensional. Though she played a central role in the development of minimalist music in the late 1960s, Hennix has neither performed nor exhibited much since 1976, when

THE JEAN FREEMAN GALLERY DOES NOT EXIST, BY CHRISTOPHER HOWARD. MIT Press, 2018. 416 pages.  

FOR SEVEN MONTHS IN 1970–71, a young artist named Terry Fugate-Wilcox promulgated the existence of a fake art gallery at a nonexistent address on Fifty-Seventh Street, then the main drag of the New York art world. Fake artists, fake works, a fake director with a Pynchonesque name: You get the gist. He promoted this enterprise, the Jean Freeman Gallery, by purchasing space in a few art magazines for seven ads featuring images of Earthworks-y pastiche; sending out press releases to luminaries such as Lucy

In early 2018, I read three books at the same time, all of them propositions for freedom, all contemplating its seeming impossibility and the inspired labor of working toward the impossible—of believing.

From J. Krishnamurti’s On Freedom (1991): “Freedom is not from something. It is an ending [of knowledge]. Do you follow?” No, not quite. But since I was eighteen I’ve trusted, without submitting to, most of what Krishnamurti has written. (I fashion that I am an innocent.) Angela Y. Davis’s Freedom Is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement (2016) is

Anne Boyer is an expert in fresh ruptures, new avant-gardes, manifestos, and life (or some such thing). Her book A Handbook of Disappointed Fate (Ugly Duckling Presse) helps me to regain focus when my sight is blurred. It helps me to believe again in tenderness when I shout for radicalization and acts of revenge. Anne Boyer writes: “Many lambs work for years to steal fire but do not know what use a lamb has for flames.” I am such a lamb. Forlorn. Misled. Raised on its predators’ rules. But it is never too late to learn when we have the right handbooks. The handbooks that perform their knowledge,

In The Assassination of Kathy Acker (Guillotine), artist and writer Matias Viegener chronicles and grapples with Kathy Acker’s death as well as with her legacy. Viegener, who was close to Acker but never lived in the same city as she did, attended to her on her deathbed and agreed to become her literary executor. Acker’s dying consumes Viegener. Of sitting beside her in the hospital he writes: “She is so absolute to me. Every pore of me reads every pore of her. I read her with a passion beyond sex. I see everything. We’re merged.” The two enter into a sort of spiritual marriage. Although he’s

The premise of Syeus Mottel’s delightful, disorienting CHARAS: The Improbable Dome Builders (Pioneer Works Press/The Song Cave) is the stuff of retro-futurist fantasy. First published in 1973 and brought back into circulation this year, the book is an account of how Chino Garcia and Angelo Gonzalez Jr., both New York gang leaders, decided to take on the system they believed was killing their communities in the mid-1960s. Ditching their initial plan to organize a mercenary army to invade Cuba, they formed the Real Great Society and, from their headquarters on East Sixth Street, set about supporting

Wendy Trevino’s Cruel Fiction (Commune Editions) tells the truth about life as we know and endure it, restlessly picking at the hangnails of both history and heartbreak. Trevino posits race as a “cruel fiction,” nationality as its attendant mythology. Trevino asks: How do we resist these fictions without reproducing their murderous, hierarchical logics? For Trevino, “poetry is not enough” as long as we are not enough. Trevino’s insurgent colloquialism is a sleight of hand. Cruel Fiction speaks plainly but never simply. Trevino reflects on the lies with which we arm ourselves to refute the lies

“What manner of man is this?” Jonathan Harker wonders when he sees Dracula creeping down his castle’s ramparts in the moonlight. Asking this question of the writer and illustrator who transformed precocious little oddballs into goths long before Jack Skellington or Marilyn Manson descended on suburbia, Mark Dery pens an eerie portrait of the artist, Born to Be Posthumous: The Eccentric Life and Mysterious Genius of Edward Gorey (Little, Brown and Company), in which answers only conjure extra lashings of ambiguity—a very Gorey trick.

Was homosexuality the antic bat in Gorey’s belfry? “Everything

I have always been obsessed with the concepts around, and notions of, time. This is because time makes me anxious. In our current age of relentless speed, technology and its platforms are faster than we can keep up with, and more efficient than ever, and yet time is ever seeping through our hands. A real sufferer of FOMO, I am always left wanting more. Carlo Rovelli’s The Order of Time (Riverhead) is a small but profound book that I have repeatedly returned to over the past few months, and it continues to impact my thinking. Rovelli deconstructs the “crumbling of time,” as he describes it, and

Where is my movie camera? . . . I CAN’T SEE WITHOUT IT.

—Barbara Rubin

I wish I had known about Barbara Rubin back in the day in Hollywood, when I was making my queer zine Fertile LaToyah Jackson, because she was like me: a precocious weenager who didn’t take any excrement from anyone, least of all men. She was not only bold, beautiful, and voracious, she was a total badass. She was a Lilith, a Sheila, a Cybele demanding gonads to make a necklace of testicles. In Rubin’s case, among those she kept in check was Film Culture editor in chief Jonas “Uncle Fishhook” Mekas, as well as Andy Warhol,