Art

CLOSEENCOUNTERS

Roberta Smith with Jarrett Earnest

Roberta Smith is co-chief art critic at the New York Times. She joined the newspaper’s staff in 1991 after writing for Artforum, Art in America, and the Village Voice. Smith spoke with Jarrett Earnest about Donald Judd, opinionated criticism, and dealing with your own ideas.

In Conversation

YOAN CAPOTE with Laila Pedro

Yoan Capote is a Cuban artist living in Havana who brings a powerful conceptual focus, a profound grounding in art history, and a multilayered, tactile execution to a body of work that spans installation, sculpture, and painting. Cerebral and deeply psychological, Capote’s work displays a compelling individual vocabulary of materials and themes that is as distinctively situated in a contemporary Cuban vernacular as it is universally evocative.

THE HELD ESSAYS ON VISUAL ART
On Georgia O’Keeffe, In and Out of Sight

In an essay for the Tate’s retrospective exhibition of Georgia O’Keeffe this past summer (2016), Griselda Pollock writes that as a young art historian in the 1970s, she initially could not “see” O’Keeffe’s work.

In Conversation

Katharina Grosse with Phong Bui

The first time I encountered Katharina Grosse’s work was when she created her site-specific, spray-painted wall installation for the Drawing Center’s Selections Fall 1999 (September 10 – October 14, 1999), which also included the works of Steve Roden, Honda Takeshi, Barbara Cemilla Tucholski, and Paul Zawisha.

In Conversation

Douglas Gordon with William Corwin

The film I Had Nowhere to Go (2016) is Douglas Gordon’s meditation on the early life and adventures of the filmmaker Jonas Mekas. William Corwin sat down with Gordon in his studio in Berlin to discuss his friendship with Mekas and the origins of the project. Gordon also speaks to his use of disjointed time, Scottish literature, and the poignancy of image, sound, and text from the perspective of the viewer.

In Conversation

TAMARA GONZALES
with Raymond Foye and Peter Lamborn Wilson

You want to keep the classical, as one root, and have respect for the beauty of that particular cultural contribution. But then, I support not freezing a culture, especially if it’s not mine, in some attempt to keep it pure.

INMEMORIAM

Dore Ashton in East Hampton, 2012

Dore’s house in East Hampton is small and rough, sternly sensual—no nonsense. No air conditioning either. You enter through the kitchen door in the back. The rooms have low plywood ceilings.

ADVERTISEMENTS
close

MAR 2017

All Issues