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1 month ago | 
abcdinamo.com | Whitney Mallett
02–26–2025Guest Takeoverby Whitney MallettSometimes we invite artists, writers, and other friends to take over our newsletter and write about fonts from a cultural perspective. And this time, New York-based writer and editor Whitney Mallett took a deep dive into the 1997 Towa Tei track GBI (German Bold Italic), for which Kylie Minogue sang from the perspective of a typeface.
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1 month ago | 
nyra.nyc | Whitney Mallett
Rafael de Cárdenas decided to become an architect after reading about a building described as “the reincarnation of Marilyn Monroe.” Fitting, then, that Kimberly Noel Kardashian, notoriously eager for the same comparison, tapped him to design Skims’s New York flagship, which opened in December.
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Dec 11, 2024 | 
documentjournal.com | Qingyuan Deng |Whitney Mallett
In ‘LIBRARY,’ four live acts revel in the absurd, magic, and tender possibilities of literary encounters The library has always been a site of worldbuilding. Its meticulous taxonomy of genres and subgenres opens new paths to information and new grounds to contest what is and isn’t included. It becomes a space for memory—and perhaps even a space for living.
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Dec 4, 2024 | 
news.artnet.com | Whitney Mallett
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Oct 24, 2024 | 
interviewmagazine.com | Whitney Mallett |Jake Nevins
In his newest novel, Ripcord, Nate Lippens establishes Paul Lynde’s “snarling flamboyance” as a kind of apex. Throughout the book, he totally nails it. Lippens sets the tone, embittered and witty, from the very first line: “Some people get the glory. Some people get the glory hole.” And tone is everything. In Lippens’s new novel, just like in his 2021 debut, My Dead Book, the action is far away, a jumble of memories recurring through the lens of detachment.
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Oct 22, 2024 | 
documentjournal.com | Whitney Mallett
For Document’s Fall/Winter 2024–25 issue, Whitney Mallett talks to co-editors, writers, and collaborators of the legendary publisher of theory and fiction When you clock that small “e” couched in parentheses on the spine of a book, do you feel something shared between you and its reader? At once unmistakable and unassuming, this perfect signifier, the “e” in Semiotext(e), is a signpost marking a sensibility that’s been a lightning rod through English-language publishing since 1974.
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Sep 27, 2024 | 
thewalrus.ca | Whitney Mallett
Rachel Kushner’s latest, Creation Lake, has been called a spy novel. Shadowy corporate interests have enlisted the operative (alias: Sadie Smith) to safeguard the construction of a megabasin designed to divert local water to industrial monocroppers. In the tradition of honey-trap saboteurs infiltrating radical movements, Sadie seduces targets close to the anarcho-subsistence farmers fighting to preserve sustainable agrarian life in the region.
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Sep 2, 2024 | 
family.style | Vittoria Benzine |Marcus Gabrielli |Whitney Mallett |Alisha Wexler
There are a lot of fairs on the art world’s calendar, from Los Angeles to Madrid, Paris, and Seoul. None are more fun for seeing and being seen than The Armory Show in New York—not even Art Basel Miami Beach, which is so gaudy, bloated, and cutthroat that any participation leaves one craving a shower. For the past 30 years, the Armory has dubbed itself New York’s hometown fair.
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Sep 2, 2024 | 
family.style | Meka Boyle |Vittoria Benzine |Marcus Gabrielli |Whitney Mallett
How does one discuss an artist whose work is both specific and panoramic? Should the conversation zoom out to capture the breadth of her subjects: family, loved ones, neighbors, artists, literary figures, activists? Or hone in on particulars such as when or at whom she was looking? When it comes to Alice Neel, David Zwirner has landed on the latter in an ongoing series of exhibitions that offer intimate windows into the late artist’s five-decade-long practice.
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Sep 2, 2024 | 
family.style | Marcus Gabrielli |Vittoria Benzine |Whitney Mallett |Alisha Wexler
I dial 833-526-8880, and a woman on the other end answers: “Hi.” The speaker is none other than Miranda July. The artist, writer, actor, and filmmaker’s voice asks me how I’m doing. “I’m doing great,” I tell her. In a fever-dream-like sequence, July informs someone in the background that she is on the phone with her dad. She tells me how she’s rushing around too much, how she’s constantly on the go. She asks me if she’s told me about how her bag at the airport was too heavy.
