Madeline Cash On Her Debut Novel, Lost Lambs
By Wim Langedijk for HURS
Madeline Cash On Her Debut Novel, Lost Lambs
HUR Reads is our definitive shortlist of the most prominent articles from around the web.
By HURS Team
1
Kate Millett Disappears
Rachel Cusk reflects on Kate Millett's 1972 installation Terminal Piece, arguing that its silent physical presence confronts violence in ways language cannot. Moving between art criticism and biography, Cusk considers Millett's feminist writing, sculpture, activism and institutionalization, suggesting the work embodies the fragile boundary between freedom and entrapment, while exposing the limits of language, the vulnerability of the female body and the politics of power.
THE NEW YORKER
Long remembered more for her colorful life than her paintings, Nina Hamnett is finally being reassessed as a significant modernist in her own right. Prompted by a new spotlight display at Tate Britain, Mark O'Flaherty traces the artist's remarkable career, bohemian circles and posthumous market revival, arguing that her psychologically astute portraits and distinctive still lifes deserve recognition alongside her better-known contemporaries.
HOW TO SPEND IT
Through the voices of artists, musicians and writers, Cassie Packard reconstructs the history of Casa de Estrogen, a modest Koreatown apartment building that became a vital hub for queer and feminist art in 1990s Los Angeles. Residents recall a fiercely collaborative community shaped by activism, affordability and experimentation, where figures including Catherine Opie, Jenny Shimizu, Eileen Myles, and Wu Tsang forged work that would leave a lasting mark on contemporary culture.
T MAGAZINE
Madeline Cash discusses her acclaimed debut novel Lost Lambs, a maximalist, absurdist portrait of family, faith and contemporary life that emerged from New York’s downtown literary scene. Profiling a generation drawn to theatricality over authenticity, Mikkel Rosengaard traces Cash’s creative evolution, from founding the irreverent magazine Forever to embracing sobriety while preparing her next novel.
THE NEW YORK TIMES
Years after documenting Europe’s rave culture in No System, photographer Vinca Petersen reflects on building a straw-bale home on a Scottish croft and the collaborative ethos behind her new project, Hulala. Speaking about turning 50, natural building and the politics of land, Petersen explores how community, care and collective labour have become the foundations of both her life and her evolving artistic practice.