In this interview, Amy Sillman discusses her first UK museum exhibition at London’s Camden Arts Centre Amy Sillman: Landline, (on view through January 6, 2019), her response to Trump’s election, and her interests in philosophy and comedy.
A painter and mixed-media and video artist with a unique, bifurcated practice, Howardena Pindell makes both sumptuous process-driven abstract works and pull-no-punches issue-based works that call out racism, sexism, and other injustices.
Richard Hughes is realist and a fantasist. He is a sculptor who hand-makes true to life replicas of the worn out and thrown away things littering the urban environment: old shoes, dusty comforters, tattered Im with Stupid t-shirts, melted plastic trash bins.
In the kitchen of a townhouse with a tall ceiling, Toby Kamps talks to Imi Knoebel, his wife Carmen, and his longtime manager and former proprietor of the citys legendary art and music bar Ratinger Hof. Joining them is artist and activist Johannes Stüttgen, who was a classmate of Knoebel and who has remained a friend over the ensuing decades.
In his engulfing, otherworldly video installation at Tate Britain, O Magic Power of Bleakness, Mark Leckey has transformed a cavernous gallery into a freeway underpassspecifically his childhood hangout under the M53 Motorway, which runs through his deindustrialized hometown on the Wirral Peninsula across the River Mersey from Liverpool.
Like the poems of another Greek exile, Constantine Cavafy, Kounelliss works are spare and direct with no fancifying inflections of materials or handling.
The life and career of Walter Hopps is legendary. His obituary in The Washington Post described him as a “sort of a gonzo museum directorelusive, unpredictable, outlandish in his range, jagged in his vision, heedless of rules.”