INCONVERSATION

HIROSHI SUGIMOTO with Phong Bui

Art

A few days after the opening reception of his recent exhibit Sea of Buddha at Pace Gallery (February 5 – March 5, 2016) Hiroshi Sugimoto took time out of his constant travel to remote locations around the world for his “Seascape” series—a routine that results in near-perpetual jet lag that he has learned to accept and love—to welcome Rail publisher Phong Bui at the gallery.

INCONVERSATION

NICOLAS LOBO with Hunter Braithwaite

Art

Nicolas Lobo’s art maps the conduits linking flesh to industry, the porous bedrock beneath cities dedicated to banal leisure and amorphous capital. For the past nine years he has lived in Miami, creating objects out of systems clotted to a trickle.

INCONVERSATION

LARRY BELL with Alex Bacon

Art

Alex Bacon visited Larry Bell in his Venice Beach studio to reflect on the artist’s long and influential career, which is currently being celebrated in an exhibition of work from the 1960s at Hauser & Wirth’s uptown space at 32 East 69th Street.

INCONVERSATION

MARIE LORENZ with Jarrett Earnest

Art

Snowflakes were falling soft and thick on the February morning I met Marie Lorenz in Bushwick, and, à la “My Favorite Things,” it stuck to our noses and eyelashes while we loaded her fiberglass rowboat into a U-Haul van.

INCONVERSATION

HOUSE OF LADOSHA with Laila Pedro

Art

For the past several years, the relentlessly multi-tasking, reinventing, genre-blending House of Ladosha has drawn on a seemingly endless lineage of references and influences to produce immersive nightlife, performance, and installation experiences. Working across and beyond intersections of gender, race, humor and politics, House of Ladosha has created a world of meaning and connection that is fully embodied by its members even as it transcends its own social context.

RAILING OPINION
IN RESPONSE TO “JOAN MITCHELL/MEDITATIONS IN AN EMERGENCY”
(“Verbatim,” the Brooklyn Rail, February, 2016)

Art

As editor with oversight of the entire production of In Memory of My Feelings (Museum of Modern Art, 1967; bound facsimile reprint, 2005), I offer the following additional information about its making, as well as a few corrections.

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MAR 2016

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