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In Conversation

CLIFFORD ROSS with Phong Bui

On the occasion of his multiple exhibits, including a major mid-career survey at MASS MoCA, the artist Clifford Ross welcomed Rail publisher Phong Bui to his West Village studio to discuss his life, work, and more.

In Conversation

SAM MESSER with Kiki Smith

Kiki Smith sat down with Sam Messer to discuss his collaborative work with the writers Jonathan Safran Foer and Denis Johnson, now on exhibit at Fredericks & Freiser. Smith and Messer met in 1996 at the Moonhole Artist Colony on the island of Bequia, which is part of St. Vincent and the Grenadines.

In Conversation

PETER SCHJELDAHL with Jarrett Earnest

In the pantheon of art writers Peter Schjeldahl holds a special place near the top as one of our greatest living critics. He entered the New York scene in the ’60s, a poet and college dropout escaping a Lutheran upbringing in Minnesota.

In Conversation


Alex Bacon met with David Reed and Mary Heilmann at their exhibition at the Hamburger Bahnhof - Museum für Gegenwart in Berlin to discuss their friendship, the process of putting together a two-person show based on that relationship, and what they’ve learned from doing it.

Comments on Isabelle Graw’s Concept of Painting

Our concept of painting is notoriously vague. Arguably, any of our categories and concepts of art are. But the theoretical means used to characterize and essentialize painting over the previous several decades is all too well known; today it’s uncontroversially understood that painting constitutes almost anything, if it does not already constitute everything.

Late Works/New Readings

An artist’s late works provide easy targets for criticism because they often do not correspond to the accepted readings of the artist’s earlier, iconic work. That late works often mark a new beginning can be seen in the careers of long-lived artists such as Picasso, or more recently, Alex Katz. A retrospective of the thirty-odd year career of Iranian-American Shirin Neshat (b. 1957, Iran) currently on view at the Hirshhorn Museum in Washington, D.C., “Shirin Neshat: Facing History,” affords a welcome opportunity to address this question.

“Making the Impossible Possible” in North Rhine-Westphalia and—for a Few Days in July—New York City

Nowhere is the myopic New York-centrism that Saul Steinberg so famously captured in his March 29, 1976 cover of the New Yorker as ubiquitous as it is in the art world. Although international travel is a given for most art professionals, in 2015 the art-infested boroughs of New York City, branching out from Soho to Chelsea, to Williamsburg, Long Island City, and Bushwick, with museums expanding in ways both depressing (MoMA) and exhilarating (the Whitney), it is hard not to continue to call New York the center of the art world.


The Brooklyn Rail

JUL-AUG 2015

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