AGNI 69 Table of Contents (2009)
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Radical compressions and striking explosions. Brian Christian proposes a radical theory of art as information, and Senior Editor Bill Pierce riffs out further connections, while artist Aldwyth (as elucidated by fellow-artist Rosamond Purcell) offers uncannily apt illustration. Lovers’ beds abound—in fiction by Gary Amdahl, Michael Mejia, and Margo Berdeshevsky—and poets, including Adam Day, Garrett Keizer, Eva Hooker, and Deborah Pease, find what’s fresh and disturbing in the nothing new that is under the sun.
| Author |
Title |
| Silano, Martha |
Adjacent to the way |
| Mills, Tyler Caroline |
Blue Mountain Lake |
| Bar-Nadav, Hadara |
Blur |
| Wright, William |
Chernobyl Eclogue |
| Day, Adam |
Combine |
| Pease, Deborah |
The Divine Right of Caprice |
| Upton, Lee |
Drunk at a Party |
| Harris, Ian |
Fire Season |
| Keizer, Garret |
The Last Man Who Knew Everything |
| Bense, Robert |
Morandi |
| Neri, Giampiero |
Pseudohorse (translated from the Italian by Martha Cooley and Antonio Romani) |
| Hooker, Eva |
Shadow of Two |
| Wagoner, David |
Striking the Set |
| Dunn, Stephen |
Why |
| Gilliland, Mary |
Winter in the Garden |
| Harris, Ian |
The World Does Not Know of Us, Not Yet |
| Author |
Title |
| Purcell, Rosamond |
In Her Hands: The Art World Goes to War (essay) |
| Aldwyth |
Where Were you When the Moon was Full? |
|
