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Barry Schwabsky

Barry Schwabsky is art critic for The Nation and co-editor of international reviews for Artforum. His most recent book of poetry is Trembling Hand Equilibrium (Black Square, 2015). Forthcoming is a collection of essays, The Observer Effect: On Contemporary Painting (Sternberg Press, 2019).

Guest Critic

Fictions Of Art

Every artwork has to be imagined before it is made, and every artwork that’s made only takes effect in someone’s imagination, where it may continue to unfold even long after it has been lost to sight.

In Conversation

MICHELLE GRABNER with Barry Schwabsky

On the occasion of her recent exhibitions at Green Gallery, Milwaukee, and Shane Campbell Gallery, Oak Park, Illinois, Barry Schwabsky took a road trip with Michelle Grabner during which they discussed her paintings as well as the curatorial projects she runs with her husband Brad Killam.

In Conversation

ARCHIE RAND with Barry Schwabsky

Archie Rand recently published an unusual book, The 613 (Blue Rider Press, 2015), reproducing his extraordinary series of paintings corresponding to the 613 mitzvot (commandments) of the Hebrew Bible.

In Conversation

BETTINA POUSTTCHI with Barry Schwabsky

Bettina Pousttchi is a Berlin-based artist who works with photography and sculpture. This month, she has two exhibitions opening in Washington, D.C.: World Time Clock at the Hirshhorn Museum and Sculpture Garden (June 9, 2016 – January 2017), and Double Monuments atthe Phillips Collection (June 9, 2016 – October 2, 2016). Barry Schwabsky sat down with her in New York to find out more.

In Conversation

Joan Jonas with Barry Schwabsky

Joan Jonas’s current exhibition What Is Found in the Windowless House Is True, on view through June 11 at Gavin Brown’s enterprise, is the artist’s first in her hometown since 2010—and thus also the first since her acclaimed work for the U.S. Pavilion at the fifty-sixth Venice Biennale in 2015, They Come to Us Without a Word.

RAFAEL FERRER with Barry Schwabsky

On the occasion of Rafael Ferrer’s participation in the exhibition When Attitudes Become Form: Bern 1969/Venice 2013, Barry Schwabsky met with the Puerto Rican-born musician-turned-artist to find out what it was like to re-encounter his own younger self.

In Conversation

ALICE CHANNER with Barry Schwabsky

The day after the opening of British artist Alice Channer’s current exhibition at Lisa Cooley Gallery (Cold Blood, through December 23), Barry Schwabsky met her at the gallery and they decided to take a stroll while discussing the show and its background in her two educations.

In Conversation

BLESS with Barry Schwabsky

On the occasion of the current exhibition Fashioning the Object: Bless, Boudicca, Sandra Backlund at the Art Institute of Chicago, Barry Schwabsky met with Bless, the design team of Desiree Heiss and Ines Kaag to discuss clothes, life, collaboration, and art.

In Conversation

On Ellen Cantor: JAMES BARRON with Barry Schwabsky

A feminist multimedia artist and curator, Ellen Cantor’s work began to garner critical acclaim in the early 1990’s. As part of a generation of young feminist artists interested in female representatio­­n, Cantor explored the relationship between fiction and life, good and evil, and the role of the female protagonist.

Criticism and Self-Criticism

A work of criticism, to paraphrase Donald Judd, need only be interesting. That’s easier said than done, needless to say, and all the more so insofar as it cannot be defined in advance what would make such a work interesting.

Make Room!

One of my big complaints about art magazines has a simple solution.

Joan Jonas: Moving Off The Land II

Jonas became a pioneer of video installation as a genre, not necessarily intending it, but by responding to changes in technology and the circumstances of exhibition-marking as they’ve shifted over the decades—and to her own developing sense of space.

Pictures of One Thing

Did Reinhardt really believe that the art he called for could exist, that the museum he called for could exist, that the academy he called for could exist?

Exit Art

I learned from so many people: artists, writers, dealers—really, whoever would bother to talk to me. But sometimes there didn’t have to be that much talk.

TATTERS OF SONG

Faber’s new edition of Samuel Beckett’s poems, replacing the old Collected Poems in English and French on which most readers have depended since its first publication in 1977, is part of their program to reissue the Irish writer’s work following the closing down of his former publisher, Calder Publications.

Complete Cosmicology

Italo Calvino, as everyone knows, launched writing his career as a realist—or rather, as an Italian working in the immediate aftermath of World War II, a neo-realist. Soon frustrated by the limitations of that aesthetic, the story goes, he took new inspiration from fantasy, fable, and folklore—as he would later from Oulipian experimentalism—and turned himself into a very different sort of writer.

"The Verge of a Language"

This July, an extraordinary three-day celebration of new poetry from across the U.K. and North America took place at The Greenwich Cross-Genre Festival. Organized by Emily Critchley and Carol Watts at the University of Greenwich, its focus was on innovative writing and performance, including work that crossed the boundaries separating poetry from sound art or music, and syntheses of poetry with video and other visual media.

Three

Barry Schwabsky is art critic for The Nation. His recent poetry publications are Book Left Open in the Rain (Black Square Editions/The Brooklyn Rail, 2009) and 12 Abandoned Poems (Kilmog Press, 2010).

A Tribute to Steve Dalachinsky

Steve was a force of Nature, driven by compassion & curiosity. He was opened to everything & everyone. He was naked inside & outside with no boundary between.

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The Brooklyn Rail

NOV 2019

All Issues