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In anticipation of her upcoming performance for the Whitney Independent Studies Program Studio Exhibition (May 20 – June 3, 2017), I sat down with Emma at her ISP studio to talk about the evolution of her practice and the state of critical art in light of the alt-right’s embrace of postmodern performativity.
Helène Aylon sat down with Ann McCoy at the Brooklyn Rail’s Industry City headquarters to discuss her upcoming traveling exhibition, Afterword: For the Children (Hadassah-Brandeis Institute and Kniznick Gallery, Waltham, Massachusetts, March 20 – June 16, 2017; Jerusalem Biennale, October 2017).
I first learned of Yuji Agematsu’s work through a thoughtful review of his exhibit at Real Fine Arts by the poet, writer Roger Van Voorhees in the Rail’s May 2012 issue.
Heide Hatry is an artist who grew up on a pig farm in the south of Germany and studied art history at the University of Heidelberg. She has shown her work in galleries and museums in the United States, Germany, and Spain; curated numerous exhibitions; produced over 200 artist’s books; and spent seventeen years running a rare-books store in Heidelberg.
The 2017 Whitney Biennial traces an immeasurable circumference around our contemporary moment, looking for the “edge of an irregularly shaped idea,” according to co-curator Mia Locks—who, together with Whitney Associate Curator Christopher Y. Lew, assertively orchestrated a perpetually shifting fugue of sixty-three artists and collectives for its seventy-eighth edition.
Thelma Golden, Director of the Studio Museum in Harlem, is a native New Yorker who grew up in Queens a precocious art lover. After graduating from Smith College with a BA in Art History and African-American Studies, in 1987 she became a curator at the Studio Museum.
The American writer Siri Hustvedt has written non-fiction, poetry, essays, and novels, and holds a Ph.D. in English from Columbia University. Her latest book, A Woman Looking at Men Looking at Women (Simon & Schuster, 2016), brings together her uniquely nuanced, knowledgeable, and sophisticated approach to interdisciplinary readings of science, art, and the humanities.
In the fall of 1957, a young Carolee Schneemann hosted Leo Steinberg in a borrowed studio to discuss her paintings. Schneemann’s intellect and ambition were propelling her toward prominent critics; she’d hosted a rushed Parker Tyler a few weeks before.
Then, she floats down to occupy the new spaces she has opened up—and often those spaces are actually windows.