On the occasion of Guy’s recent show, Grotto Relief at Brennan & Griffin (May 13June 18, 2017), we enjoyed a long-overdue conversation on the exhibition’s last day, in front of an audience comprised mostly of artists.
With the Puerto Rican debt crisis as well as the controversy over legendary political activist Oscar López Rivera’s participation in the Puerto Rican parade as backdrop, we took the opportunity to discuss Luciano’s long engagement with Puerto Rican politics and history, his love of creatively refurbished bicycles, and how the two intersect in Ride or Die, Luciano’s solo exhibition of commissioned work, which was on view at Brooklyn’s BRIC gallery this past spring.
We met to discuss her new book, her intellectual development, and the future of the academic discipline of art history.
Strung-out between abstract dematerialization and post-minimalist figuration, Decke absorbs the photograph and disfigures its referent. Working over its own rendered image corrosively, Richter’s paint becomes a cover, a screen, a veil.
The French model of painting seemed prescient, because of its insistence that history and passion go hand in hand. Immediately following the election, I looked to French painting as a school of affect, a repository of figures whose emotions provided a series of lessons in how to behave as a historical agent and how to respond to historical events.