Bret Schneider speaks with composer Katrina Krimsky about her career spanning half a century.

“Film is, for me, an art of composition.”

“I wanted to connect to people who were like-minded but also saw this as a new frontier with a lot of possibilities for art making.”

Bret Schneider and Omair Hussain discuss musical composition and their albums Drunk Walks and What Goes Away.

Caesura editors Patrick Zapien and Gabriel Almeida talk to Elisa Jensen about her practice.

Caesura editors Patrick Zapien and Gabriel Almeida talk to Jeane Cohen about her practice.

On December 11, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Bloomington, Indiana-based painter Peter Shear.

This conversation of Alix Le Méléder with historian Nina Léger and philosopher Jean Daniélou originally took place at the artist’s home in Burgundy in the summer of 2015, four years after she had resolved to cease her activities as a painter.

On November 20, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Chicago-based painter Will Gabaldón.

On November 13, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Bristol-based painter David Abbott.

An 1891 interview with Mallarmé, translated from the French by poet Cid Corman.

Monique Fong discusses Surrealism with Erin Hagood.

Jonathan Galassi and Robyn Creswell discuss editing the FSG Poetry Anthology with Austin Carder and Aaron Fagan.

“Art has to have a sense of pleasure and danger, of stretching limitations and perceptions.”

“The category of experience connects original composition to translation. Just as poets shape their experience into a poem, the translator shapes a more specific experience, the experience of the original poem, into the translation.”

Jim Igor Kallenberg interviewed the late Frederic Rzewski.

“From the artist’s perspective, it's the case that all art has to be a reconsideration of art history. Every artwork, in order to find its originality, has to reconsider all of art history.”

“I do want to be aware of those tensions (between academy and creativity, between ‘translation’ and ‘adaptation’), and find a way to play off them without being tortured or paralyzed by them or pulled too far in one direction or the other.”

Stefan Hain and Boyd Rice discuss Rice and Darja Bajagić’s “Banned Exhibition,” punks in the 1970s, and ‘authoritarian’ symbols.

I died for Beauty — but was scarce / Adjusted in the Tomb / When One who died for Truth, was lain / In an adjoining Room