Upon occasion and in some places, reading and looking seem to interconnect geographically, textually, visually, and personally with a kind of intensity. It seems to me to happen especially in the atelier system. With this in mind, I set out to visit the Grand Central Atelier in Long Island City, founded by the right-now-contemporary painter and teacher, Jacob Collins, a contemporary realist, known for his championship of the classical art revival.
John Houck lives in Los Angeles and works out of a studio that previously housed a sizeable weed growing operation. Recently, five of Houcks photographs were featured in the New Photography exhibition at MoMA; in April he is showing a new body of work at On Stellar Rays. Prior to the exhibitions opening, Houck visited the Brooklyn Rails HQ to talk with Charlie Schultz about psychoanalysis, the relationship between drawing and photography, play, and the history of the constructed image.
For the next six months Hilton Als is the featured artist at The Artist’s Institute; his exhibition One Man Show: Holly, Candy, Bobbie and the Rest (through April 24, 2016) inaugurates the Institute’s handsome new uptown space (at 132 East 65th Street).
I first met Andrea Fraser when she was nineteen and I was twenty-six. We were both in the Whitney Independent Study Program (ISP) and loyal spawns of Yvonne Rainer, who taught there.
Since the 1960s, Barkley L. Hendricks has been creating powerful images of intense formal sophistication. Engaging and reworking conventions of portraiture, fashion, and iconography, Hendricks’s work reveals an intense visual focus and a concern with the tactile, technical, and chemical effects of of paint, pigment, and surface.
On the occasion of the installation of his large-scale painting, Dream, in 2015 at the Fordham University School of Law, lifelong painter Bill Conlon sat down for a conversation with the art historian Barbara Rose.
On the occasion of Betty Woodman’s two simultaneous exhibitions, Breakfast at the Seashore Lunch in Antella at Salon 94 (January 21 February 26, 2016), and Betty Woodman: Theatre of the Domestic (February 3 April 10, 2016) at the Institute of Contemporary Art (ICA) in London (her first solo presentation in the U.K.), she spoke with Phong Bui before an audience at Salon 94.
“I’ll take a picture of you, do you want to hide behind the code?”
by Jarrett Earnest
Michael Riedel and Jarrett Earnest at the American Museum of Natural History
For his current show at David Zwirner, Riedel exhibits appropriated images of dinosaur skeletons blown up, rotated, and draped in vinyl stickers of a Dick Blick Art Supplies bag. The walls are pasted with a texture coaxed from overlays of website texts using information for art material as material for doing art. Riedel admitted that he thought it was a misunderstanding when I asked him to do our interview at the American Museum of Natural History (“My work isn’t about dinosaurs”) but he showed up anyway.
Nancy Davidson's large-scale, colorful, biomorphic inflatables unapologetically embody and destabilize pop culture tropes through humor, absurdity, and the grotesque. From April 30 through May 29, Lord Ludd in Philadelphia will present a solo exhibition of Davidson’s work, Ridin’ High, which will include sculptures from the nineties and new sculptures that parody themes of power and privilege. Davidson met with Ashley McNelis at her Tribeca studio to discuss her work, as well as Eva Hesse, modern feminism, and doing what you want, when you want.
- JACOB COLLINS with MARY ANN CAWS: Thinking About Ateliers by Mary Ann Caws
- JOHN HOUCK with Charlie Schultz
- HILTON ALS with Jarrett Earnest
- ANDREA FRASER with Thyrza Nichols Goodeve
- BARKLEY L. HENDRICKS with Laila Pedro
- BILL CONLON with Barbara Rose
- BETTY WOODMAN with Phong Bui
- “I’ll take a picture of you, do you want to hide behind the code?” Michael Riedel and Jarrett Earnest at the American Museum of Natural History by Jarrett Earnest
- NANCY DAVIDSON with Ashley McNelis