Art
In Conversation
IAN CHENG with Osman Can Yerebakan
Since earning his MFA from Columbia University in 2009, Cheng has been investigating ways to infuse humanity into the machine, not shying away from the possibilities embedded in chaos, in defiance of pristine and consequential order technology and science manifest. After debuting at Serpentine Galleries early last year, BOB continues Cheng’s utilization of simulation to challenge narrative constructs of art, a path he embarked on with his Emissaries saga, composed of intertwined and infinite narrative possibilities within live simulation, which will be a part of the upcoming Sharjah Biennial 14 in March.
In Conversation
CHARLES STEIN with Raymond Foye
Poet Charles Stein teaches art writing at the MFA program of the School of Visual Arts, New York. His work comprises a complexly integrated field of poems, philosophy, art theory, mathematics, translations from ancient Greek, drawings, photographs, lectures, conversations and music performances. Born in 1944 in New York City, he is the author of fourteen books of poetry. He holds a Ph.D. in literature from the University of Connecticut at Storrs.
In Conversation
JULIE MEHRETU with Allie Biswas
Mehretu was born in Addis Ababa in 1970 to an Ethiopian father and an American mother. She grew up in East Lansing, Michigan, and now lives in New York. The following conversation took place over the course of a day in London, in October of last year, when an exhibition of Mehretu’s paintings was on display at White Cube.
In Conversation
KEVIN BEASLEY with Yasi Alipour
Kevin Beasley has gained a reputation for his playful sculptures and activated sound-installations where everyday objects and dismissed voices are turned into signifiers to reflect on culture, politics, and history. A view of a landscape is a project that started in graduate school, and now, after many productive years, it is brought to the public at the Whitney Museum. Separated into three rooms—a running cotton gin motor encapsulated, an immersive sound-room dedicated to its forgotten voice, and three sculptural reliefs in the hallway that narrate Beasley’s journey—the exhibition becomes an occasion to reflect on the artist’s unique practice and his deep concerns: political, historic, and ever-so personal.
In Conversation
EMIL LUKAS with Harry Philbrick
On the occasion of Emil Lukas’s fourth exhibition at Sperone Westwater, the Rail’s new editor-at-large Harry Philbrick met the artist at the gallery talk about this recent body of work, which includes his landmark bubble wrap paintings, larvae paintings, thread paintings, and the enigmatic stack structures that evoke the artist’s archeological index of broad interests in what lies between art, science, alchemy, as well as other materials and matters.
