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In Conversation

SAM GILLIAM with Tom McGlynn

At its very core, the intrinsic value of art—which can be disruptive, unpredictable, and at the very least challenging—has tremendous transformative and healing incentives. Whether it occurs at the first encounter or over time, the implications for the viewer, be they formal or emotional, are simultaneously simple and complex, generous and demanding.

In Conversation

ALIZA NISENBAUM with Yasi Alipour

What I’m most engaged with is the process of my work; meeting new people, seeing if we can be open to each other, losing control then regaining control, and making an image somehow from the different situations I’m placed in.

In Conversation

LARI PITTMAN with Terry R. Myers

I became a painter at Cal Arts in the 1970s when there was a way of approaching the making of art just generally. One of the things that still bothers me about painting are the way that painters talk about their work or the way painting is viewed. Of all the practices, painting is the one where the viewer—both the educated and the popular viewer—essentializes or over-essentializes the relationship between the object and the person who made the object. And that, I think, is problematic.

In Conversation

TOMAS VU with Phong Bui

I tend to substitute nostalgia with fantasy, and vice versa. It’s the same word to me sometimes. Not having a strict distinction or a boundary has allowed me to have the freedom to move in and out of spaces. Time works in the same way, in my case. For me it’s always about finding out what was in that particular landscape and what’s happening at that moment in time, as a starting point, from which I can move forward. That’s how all of my projects begin, actually.


The Brooklyn Rail

SEPT 2019

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