All posts filed under ‘Triple Canopy

I am the editor of Triple Canopy (http://canopycanopycanopy.com), a magazine based in New York. Since 2007, Triple Canopy has advanced a model for publication that encompasses digital works of art and literature, public conversations, exhibitions, and books. This model hinges on the development of publishing systems that incorporate networked forms of production and circulation. Working closely with artists, writers, technologists, and designers, Triple Canopy produces projects that demand considered reading and viewing. Triple Canopy resists the atomization of culture and, through sustained inquiry and creative research, strives to enrich the public sphere.

Introduction to “Headless”

In March 2015, Triple Canopy, Sternberg Press, and Tensta Konsthall published Headless, an exhilarating murder-mystery by the elusive K. D. I wrote the introduction to the novel, which probes the sordid secrets and sinister deeds of powerful financiers who use Caribbean firms to conceal their fortunes. (My introduction previously appeared in Triple Canopy as “Headless Commercial Thriller.”) […]

How Far Is Near

On February 6–8,  2015, Triple Canopy presented How Far Is Near, a series of conversations at Material Art Fair in Mexico City. The series considered the ways in which political representation might be achieved—or recognized as a chimera, or disavowed—through the work of representing politics, and focuses on the various responses by Mexican artists and writers to […]

Universal Time (Tiempo Universal)

Between October 2014 and March 2015, Triple Canopy collaborated with several Mexico City-based artists, writers, designers, and researchers to organize Universal Time (Tiempo Universal), a seminar on publication as a means of producing and distributing knowledge, as a site for the translation of texts and contexts. Universal Time (Tiempo Universal) was organized in collaboration with José León Cerrillo, […]

“Pointing Machines”: Triple Canopy in the 2014 Whitney Biennial

Triple Canopy’s contribution to the 2014 Whitney Biennial is Pointing Machines, an installation titled after the simple eighteenth-century measuring tool for reproducing sculpture in stone or wood with a system of adjustable rods and needles. The installation consists largely of reproductions—by handcraft, 3-D printing, and photography—of paintings and a colonial-era wash basin stand, once part of the […]