Always thought babies were dumb. Always did. Bald globey heads and gums dripping spit. Nothing behind the eyes but want.
WE AS ARTISTS MUST SEE OURSELVES AS RECEIVERS, conductors and generators of the energy that we call art.
Conditions in our country are more miserable now for artists than they have been in decades. The vast majority of artists are not able to pay for their lives through the creative work that they do.
Most traditional economic theory is built around the concept of scarcity — the idea that there’s not enough stuff to go around.
In this, our fourth-ever Lit Column, Proximity is pleased to present “How Dark the Corners” – new fiction by Gretchen Kalwinski.
If the Heartland is the giant, general landmass that is the Midwest, KCMO (and KCK) are the spine from which the rest of the nation fans
As the out-of-work scenario bombards the landscape, the miseries of job hunting, resume writing, and searching for employment threaten to drag even the most cheerful among us down…
Birds might actually benefit from a study in ornithology.
An excerpt from James Kennedy’s sparkle-excellent first novel, The Order of Odd-Fish and a new comic from Grant Reynolds.
Portrait paintings have always given me the creeps. “The creeps,” in my opinion, is not necessarily a bad thing.
Can a better system emerge from the wreckage? Can the art world return to making art instead of making inventory? And will any of us be able to afford it?
In this, our second-ever lit supplement– curated by Mairead Case – please enjoy…
Proximity’s first essay for its Theory Series is by the renowned New York painter David Reed.
Despite nearly five decades of critical writing and art practice that seeks to dismantle the sacred cows of art (i.e., the artist-genius, the artist as white hetero male…
Some people join groups, some people start groups, others lurk and smirk on the outskirts of groups – and then there are, of course, the groupies.
Relationships within a group can bring additional challenges, especially when they disintegrate.
The city stretches for miles, a Cartesian fabric of right angles only occasionally interrupted by an errant diagonal.
According to Andre Breton’s 1929 “Surrealist Map of the World,” the USA is missing.
Where are essays by contemporary artists on theory? That is, written pieces beyond the dreaded, largely pedantic and seemingly omnipresent “Artist’s Statements”?
My friend Zoë has a passion for sewing. However, instead of pulling needles through fiber, she directs needles in and out of her private canvas—her skin.