John Berger is a storyteller, essayist, novelist, screenwriter, playwright, painter and critic. His son, Yves Berger, is a painter who is represented by Art Space Gallery, London.
When we began this ongoing sequence of interviews with museum directors, we knew that we wanted to talk with Glenn Lowry. To be a director of any museum is a complex, highly conflicted job. To be director of MoMA involves special pressures, which seem unique to the flagship American museum dedicated to collecting and reflecting on modern and contemporary art.
Hank Willis Thomas has spent the last 10 years using the history of advertising as a primary reference. Working directly with print adverts, the artist uses his technique of unbrandingwhere every trace of advertising information is erased, leaving only the original imageto challenge perceptions of identity, commodity, and representation.
Recently, a lot of people have been whining on about me being anti-academic. Not so. In fact, I am an academic. I read difficult books in difficult languages, I write difficult essays about difficult art. I taught school from age 50 to 70. So I am an academic by any definition. My problem is that I belong to the academic species but not to the art tribe of academics.
About once every decade I decide to confront the issue of whether its possible to teach art or not. My immediate, passionate, and unexamined inclination is to say: yes, its possible.
Ive followed the artist Chris Larsons work ever since my visit to the Twin Cities in February 2013 as the McKnight Visiting Critic. Chris was one of the four 2012/2013 McKnight Visual Artist Fellowship recipients. My trip began with a prolonged visit to his immense studio in St. Paul, where he had built a monumental structure which housed interiors made for his video works.
If philosophy takes in everything, it was all here on this night-morning. Of course, you might say to yourself, why just a night of philosophy, why not, perhaps, a day and a night, or several of each, or what about a life of it?
Over the past year Dean Levin and Alex Bacon have been meeting regularly to discuss the evolving nature of Levins work, and the ideas behind it. The following is a composite of some of the issues they have discussed. Levins first solo exhibition in New York City, A Long, Narrow Mark runs May 3 June 7, 2015 at Boesky East.
I met David Salle in the crowded lobby of the Joule Hotel on Main Street in downtown Dallas. He was in town for the opening of Debris, a large show of his paintings and ceramics on view through August 23, 2015, at the Dallas Contemporary.