with Phong Bui
“I wanted big pictures because I wanted the viewer to be able to see all these little objects, the beauty of the fabric, the texture of someone’s skin, the clothes they wore, etc., and of course the specific environment they inhabit. It’s like a writer who describes every inch of a room. I wanted to invite the viewer to come in.”
The Art of Institutional Possibility:
with Thyrza Nichols Goodeve
“I think this future of art will only be possible if artists in the academy reconcile the practiced ignorance—or epistemological violence—that has excluded community arts and cultural organizing from the art academy for so long. Luckily, my generation has been raised in Occupy Wall Street and in Black Lives Matter, so the transformation of the academy and of the arts ecosystem is already underway.”
with Jason Rosenfeld
“It’s what makes me think about art history as a stacking and stacking, or unstacking, or digging and burying, but to me it’s always stacked until like two minutes ago, when whoever just finished a painting—the most contemporary piece, newest, modern piece of art is being finished right now”.
with Ann McCoy
“I believe language as song and as text possesses a kind of quietness, a space that allows words’ power to evoke and move emotions. I’m interested in the soft space behind language.”
with Jarrett Earnest
“I think criticism is a fundamental human impulse. Styles of criticism may change, but something essential remains. When people walk out of a movie theater, the first thing they say is, What did you think? Criticism is not some weird esoteric activity. It’s a natural outgrowth of our concern for the world around us.”
with Charles Eppley
I initially encountered the enigmatic artworks of Philippe Parreno (b. 1964) as a first-year graduate student of contemporary art history at Stony Brook University.
with David Sprecher
Michael Rakowitz: Backstroke of the West is currently on view at the Museum of Contemporary Art in Chicago, through March 4th.