Paige K. Bradley

  • Still from video of Hastune Miku Expo 2016 Japan Tour concert at Zepp Tokyo, April 10, 2016.
    diary November 21, 2017

    Welcome to (ようこそ) the Jungle

    “THERE WERE SIGNS.” A small Totoro charm hanging off a mini Fjallraven just so, spotted on the Q train; the Shoto Aizawa from My Hero Academia button on a backpack moving along Thirty-Fourth Street. Clearly something was afoot.

    ’Twas an anime convention, dear reader, the inaugural edition of a gathering of weebs in New York: AnimeNYC. Held for three days last weekend at Hillary Clinton’s Waterloo (though most around these parts just call it the Javits Center), it marked a terrific opportunity for Midtown councilman Ben Kallos (D) to hail the money and tax dollars that this fan base would bring

  • Paige K. Bradley, Screwed, 2017, pencil, watercolor, and pen on paper, 8 1/2 x 11".
    slant October 20, 2017

    The Unbearable Lightness of Paris / I Know What I Did Last Summer

    Since I’m already screwed

    Here’s a message to you

    My heart’s wide open

    I’m just not getting through to the lover in you

    Yet I’m still hoping

    That tonight, tonight, you’re gonna turn down the lights

    And give me a little more room just to prove it to you

    THAT’S HOW SHE PUT IT ON “SCREWED,” the eighth track of her debut album, Paris, released in August 2006. Screwed, with an open heart and hope for a little more room, that’s as much as any femme is allowed to be in this world.

    Bio: She was born in the 1980s in Los Angeles to wealth and privilege. Her middle name is Whitney. Her middle name is Katharine.

  • The Propeller Group, AK-47 vs. M16, 2015, fragments of AK-47 and M16 bullets, ballistics gel, vitrine, single-channel digital video. Installation view, 2017.
    picks October 18, 2017

    Yokohama Triennale 2017: “Islands, Constellations, & Galapagos”

    With thirty-eight artists and two collectives represented, the 2017 Yokohama Triennale is kitted out in cheap plywood scaffolding and furniture, courtesy of architect Teppei Fujiwara, in aid of its mission to tackle flotsam, jetsam, and aftermath. The show holds all this up as if to query whether, in a future comprising a bit of land, some people, and quite a lot of ocean and trash, we might want to prepare ourselves ahead of time and learn how to read today’s excess and tragedy to anticipate tomorrow’s reality and refuse.

    Reappearances and returns make a strong case here for a circulation that

  • Anri Sala, Bridges in the Doldrums, 2016, at Marian Goodman Gallery at Frieze New York. (Photo: David Velasco)
    diary May 05, 2017

    Game On

    IF YOU AREN’T THERE TO SHOP, art fairs are like plugging into a video game where someone’s already taken care of the bosses. Down this aisle, a friend to talk to, down that one a costumed bear spinning out on the floor at your feet; maybe go watch a digital film, ogle some colors, take the ferry—it doesn’t matter what you do, so long as you ride the ride. It all blurs and holds together if you don’t slow down to remember you’ve been chewing on dried mango all day.

    Relentless attention to art and society keeps the body’s needs at bay—at least until a rainy day, with storm clouds looming over the

  • View of “Rene Ricard: So, Who Left Who?,” 2017.
    picks April 14, 2017

    Rene Ricard

    The poet Rene Ricard, who died in 2014, was once called “as hip as it gets . . . but he wasn’t cool.” There’s nothing cool about staking your own heart before a hardened audience. And in a post-Barthes world, neither is lavishing your authorial signature all over everything. “Rene Ricard,” or his initials, often scrawled on the works here, are at the same scale as his painted poems, which are accusations, recriminations, reproaches, and, of course, odes. Over and over, spoken and written, he insisted on his name, not as a point of pride but rather as resignation to an inescapable fate. What a

  • film April 13, 2017

    It Takes Two

    AND NOW FOR SOMETHING MORE POPULAR.

    Makoto Shinkai’s Your Name (2016) is the highest-grossing anime film, ever. Bulldozing through Hayao Miyazaki’s previous box-office record for Sen to Chihiro no Kamikakushi (Spirited Away, 2001), it’s a perfect introduction for the anime newbie, cannily weaving together so many of the genre’s tropes—an apocalyptic event with a high school innocently built into the middle of its path, teenagers who are the only ones willing to accept that everything can be swept away in an instant, a love that defies the rules of time and space, and, of course, a few shots up

  • Vanessa Place, 2013. Photo: Patrick Greaney.
    interviews April 04, 2017

    Vanessa Place

    Vanessa Place is a writer, artist, and criminal defense attorney who currently lives and works in Los Angeles. Her 2010 book The Guilt Project: Rape, Morality, and Law critically examined the laws and punitive measures currently employed in the US regarding sex crimes, in addition to proposing that we expand our conception of “rape culture” into an understanding of culture broadly. She has for the past year been touring a recent work, a set of rape jokes, If I Wanted Your Opinion, I’d Remove the Duct Tape, 2016–, which she performed most recently in the Nu Performance Festival in Tallinn, Estonia,

  • Mamoru Oshii, Ghost in the Shell, 1995, 35 mm, color, sound, 82 minutes.
    film March 30, 2017

    Extraordinary Machine

    THE PROBLEM WITH BEING SEMINAL IS THE SHRINKAGE. In 1995, Mamoru Oshii adapted Masamune Shirow’s late 1980s manga Mobile Armored Riot Police, subtitled Ghost in the Shell in tribute to Arthur Koestler’s 1967 book The Ghost in the Machine, into an anime film that for many years functioned as a subcultural gateway drug, hiding out in the more unclassifiable sections of American video stores. Its VHS cover design threw it under the cartoon category, but the prominent display of heroine Motoko Kusanagi’s enormous tits and her gun hovering over the title gave pause as to its suitability for children,

  • Cover of Xiu Xiu’s FORGET (2017).
    interviews February 21, 2017

    Jamie Stewart

    Across thirteen albums and a handful of EPs, Xiu Xiu have remained a prickly, relentless force, inspiring loyalty, love, annoyance, and disgust in equal measure. Some people never get over their music, and some you couldn’t pay to even approach it. On the occasion of the release of their latest album, FORGET, the band’s mainstay Jamie Stewart discusses how he met Vaginal Davis (who performs on its last track), the band’s collaborations with Danh Vō, and the concept behind the record’s title. Polyvinyl will release FORGET on February 24, 2017.

    HOW I MET VAGINAL DAVIS is actually a long story and

  • Odwalla88 performing in Jessi Reaves's exhibition at Bridget Donahue Gallery, New York, June 5, 2016. Photo: Bridget Donahue.
    slant December 12, 2016

    On the Ground: New York

    THERE WERE SIGNS.

    History doesn’t graciously step aside for the new to waltz into the future. Remember how the 2016 calendar year began prematurely? Well, the untimely is the very rhythm of suicide—Chantal Akerman departed the October before last, and more heroes dropped off the further we hurtled along the narrowing line. The slow-burn view of her films, how the world looked when veiled in her stark patience, the picture never ending even after the movie was through, like a dire infection. Isn’t that how despair moves, spreading and multiplying across bodies, through the blood of trauma’s

  • Ree Morton, Column Piece, 1972, acrylic, charcoal, watercolor, canvas, wood, casters, dimensions variable.
    picks October 28, 2016

    Ree Morton

    Ree Morton flew her own flags—for proof, see a whole wall of them displayed here. Made of nylon and emblazoned with the names of her nearest and dearest, Something in the Wind, 1975, was strung up on a ship docked at the South Street Seaport that same year, gaily sending affections and affirmations in the breeze. Morton dealt in giddy ideals—if a rose could last, then a prince for a princess, always. For Kate, 1976, a bouquet of roses frozen mid-scatter and made of her sensational celastic—a plastic-impregnated fabric—is a dedication. Hers were works that were always made for. Rather than staging

  • Suellen Rocca, Easy to Handle, 1968, colored pencil, ink, and cotton on paper, 29 x 23''.
    picks September 16, 2016

    Suellen Rocca

    Paintings, drawings, purses—if one of these things does not belong, then who really wants to be in that club? Suellen Rocca’s show of twenty-five works from 1965 to 1969, featuring that happy trio, blithely goes its own way, giving pointers to younger artists who incorporate the bold outlines and bright colors of comics, animation, and traditional illustration in their paintings. Mind you, this isn’t some wiseass appropriationist’s high/low move—Rocca’s pictures are resolutely hieroglyphic, and what they take from the ancients gets made up into wiggly modern forms with funky, plastic colors. A