During the run of A Haunted Capital at the Brooklyn Museum (March 22 August 11, 2013) and while preparing for Witness at the Contemporary Arts Museum Houston (June 22 October 13, 2013), the artist discussed photography, activism, and the importance of portraiture.
State of Mind: New California Art circa 1970 was curated by Constance Lewallen and Karen Moss and co-organized by the Orange County Museum of Art and the University of California, Berkeley Art Museum and Pacific Film Archive. Lewallen paid a visit to the Rails headquarters to talk about the genesis of the exhibit and more.
On the occasion of Rafael Ferrers participation in the exhibition When Attitudes Become Form: Bern 1969/Venice 2013, Barry Schwabsky met with the Puerto Rican-born musician-turned-artist to find out what it was like to re-encounter his own younger self.
Sometimes a finger, a tool, perhaps graphite, is gagged or rubbed, pushed or pulled across a surface. A trace occurs. This trace is a record of energy spent and mime recorded. Hardware or residue: whats left?
On May 5, Joan Waltemath met with Raphael Rubinstein at his loft in TriBeCa to talk about Reinventing Abstraction: New York Painting in the 1980s, a show he curated at Cheim & Read (June 27 August 30).
Its over: the contemporary was a brief period, a moment in the short American century when historical amnesia combined with postwar prosperity to flash like a strobe light on the entire world.
Dont worry, I didnt know what I was doing either when I started, Mark di Suvero said on a recent June morning, as he worked a hunk of rust-colored clay between his hands. The sculptor, whose towering steel monuments spot museums and plazas around the globe, sat at a kid-sized cafeteria table, his legs dangling off the edge.
History has never succeeded at teaching a lesson, not once, not even inthe 20th century, whose colossal pedagogical commitments dwarfed the scholarly efforts of any previous hundred years.
Arshile Gorky is a Geiger counter of art.2 So said Willem de Kooning, his closest friend in the 1930s. From the start of his lifes work in the mid-20s, he sought to assimilate the history of modern painting.
It was an entire time and a place that shaped us then, and not specific ideas or theories. Everything seemed open in New York in the early 70s; anything was possible. We tried everything. And did it without money.
A week or so before she died, I had lunch with her in her Connecticut retreat. It was a perfect June day. Sarah was moved easily as she prepared a remarkable Italian meal for four of us, including two Italians.