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zingmagazine’s primary online feature format has been interviews in both conversational and scholarly style between artists, curators, and writers including Al Diaz SAMO©, Patricia Cronin, Walter Robinson, Devon Dikeou, Josh Franco, Leo Tanguma, Anicka Yi, Kenny Schachter, Kenny Scharf, and many others.

In the digital archives, zingmagazine has published oral histories, the occasional review or blog, and listicles when the format was in its day.

DEVON DIKEOU & JULIA ROSE KATZ ON PERMANENT ACCIDENT

A soft collision of ancient glam and sexy ruin marks the recent collaboration between Julia Rose Katz and Devon Dikeou—both recipients of the 2025 Rome Prize in their respective fields: Julia, winner of the Anthony M Clark Rome Prize for Renaissance and Early Modern Studies, and Devon, the Jules Guérin Rome Prize for Visual Arts.

Rachel Dalamangas
New York, New York
September 2025

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Khaled Sabsabi, “conference of one’s self”, 2026, Australia Pavilion at La Biennale di Venezia. Photo by Andrea Rossetti. Courtesy the artist and Milani Gallery

The artist behind the Australia Pavilion’s “conference of one’s self” on Tasawwuf speaks with a medievalist scholar and explains why the opening of Attar’s twelfth-century poem matters more than its ending.

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Al Diaz, “FLOWERS GROW”, 2024, mixed media on canvas, Courtesy of the Artist

In January 2026, now a full-time artist, dozens of gallery shows, two books, one arrest and a midnight sun later, looking around Al’s Sunset Park studio, the same hand that wrote SAMO© graffiti is undeniable everywhere. Distinct from the shared tag but nonetheless bluntly political and deliriously irreverent. Frenzied color and American iconography. 

Rachel Dalamangas
New York, NY
February 2026

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Patricia Cronin, “Aphrodite Capitoline”, 2021; Image by KC Crow Maddux; Courtesy Patrica Cronin Studio LLC and CHART, New York © Patricia Cronin

Among the earliest monumental female nudes is Praxiteles’ “Aphrodite of Knidos,” a 4th-century BCE marble statue widely copied and reimagined throughout the ancient world. Ironically, the original was lost to history, surviving only as a ghost haunting countless echoes—from Botticelli’s “The Birth of Venus” to the legendary “Venus de Milo”—thus setting the Western canon for the female form with her sensual contrapposto and suggestive modesty.

Artist Patricia Cronin’s recent body of work joins this long lineage, paying homage to the Goddess of Love, Beauty, and Grace as a heroic figure 

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