“Gary Panter: Drawings, 1973–2019,” curated with Dan Nadel, Fredericks & Freiser in New York, 2019.

A survey of drawings made by Gary Panter between 1973 and 2019. The show featured 29 works on paper, many of which had never been exhibited, and charted the development of this acclaimed draughtsman and formal thinker.

¶ Editor of issue no. 225 (Summer 2018) of The Paris Review.

Interviews with László Krasznahorkai and Hilton Als. Fiction by Cristina Rivera Garza, Ursula K. Le Guin, Ben Marcus, Wayétu Moore, Katharine Kilalea, Benjamin Nugent, and Shruti Swamy. Poems by Sylvie Baumgartel, Szilárd Borbély, Hilda Hilst, Maureen N. McLane, Iman Mersal, Rowan Ricardo Phillips, Jana Prikryl, Michael Robbins, and Antarah ibn Shaddād. Nonfiction by Kiese Laymon. Selections from Jan Morris’s diaries. A portfolio by Edie Fake, with an essay by Renee Gladman. Documents from Kathy Acker’s library, selected by Julian Brimmers.

¶ Editor of issue no. 224 (Spring 2018) of The Paris Review.

Interviews with Elena Poniatowska and Charles Johnson. Fiction by Kathleen Collins, Rachel Cusk, Danielle Dutton, Chia-Chia Lin, Katharine Kilalea, JoAnna Novak, and Joy Williams. Poems by Peter Cole (with art by Terry Winters), Mónica de la Torre, Michael Hofmann, Ishion Hutchinson, Major Jackson, Nick Laird, Dorothea Lasky, Ange Mlinko, and Alejandra Pizarnik. A portfolio by Etel Adnan.

¶ “Wide Angle with Gene Smith: An Evening with Sam Stephenson + The Paris Review,” at National Sawdust, New York, produced with Sam Stephenson and National Sawdust+, 2017.

Linked to Stephenson’s new book, Gene Smith’s Sink, the expansive evening featured readings by Stephenson, the premiere of Chuck-will’s-widow, a short film by Jem Cohen inspired by the book, and music by composers such as Thelonious Monk, Hall Overton, and Sonny Clark. Musicians included percussionist/composer Victor Pablo, pianist Angelica Sanchez, trumpeter Wadada Leo Smith, and a string quartet from Wordless Music Orchestra (Pauline Kim Harris, Ravenna Lipchik, Isabel Hagen, and Clarice Jensen). 

¶ “Big, Bent Ears: A Serial in Documentary Uncertainty,” a ten-chapter online multimedia project, produced with Sam Stephenson and Ivan Weiss, in collaboration with The Paris Review, 2015.

The literary magazine’s first foray into multimedia storytelling. Launched March 4, 2015, the bi-weekly series explored the theme of careful listening, in all its various incarnations. The name “Big, Bent Ears” derives from our two current projects, The Joseph Mitchell Project and The Big Ears Documentary Project. Incorporating video, audio, photography, and writing, some in refined form, others raw, the series delved into the theme of paying long, close attention and the noncommercial craft of music and sound.