Ed Schad

Ed Schad is Curator and Publications Manager at The Broad in Los Angeles. His writing has been included in Art Review, Frieze, Modern Painters, Flash Art, and the Los Angeles Review of Books. He teaches at Claremont Graduate University.

In April, Ed Schad spoke with Takashi Murakami over Zoom. Schad was in Los Angeles; Murakami was at his studio in Saitama, Japan. They spoke on the eve of a presentation of Murakami’s work at Gagosian in New York, where the artist is currently showing a series of works centered on both Utagawa Hiroshige’s “100 Famous Views of Edo” (1856–58) and the concept of Japonisme as found through the late nineteenth century, especially in Whistler’s painting. Murakami has since also opened a show at the Cleveland Museum of Art, which is a larger survey of his work curated by Schad. The purpose of this interview is to give an audience in the United States some insight into the new projects that Murakami has been working on, especially since his exhibition last year in Kyoto, his largest ever in Japan.

Portrait of Takashi Murakami, pencil on paper by Phong H. Bui.
I was asked by the Rail to provide an L.A. perspective, and in order to do that, I wanted to do something unusual. I want to take the pressure off the New York/Los Angeles split, not worrying about describing what is going on in Los Angeles for those that may not know.
Portrait of Ed Schad. Pencil on paper by Phong Bui.
Jo Nigoghossian’s four new sculptures crouch together at one end of a hallway-like space in Night Gallery, just east of L.A.’s downtown. They are made of black steel: strips of sheet metal, tubing, and channel curve and twist into industrial hybrids of inanimate objects and expressive creatures.
I admit to being surprised when the theoretical equipment I received in graduate school came to be of little use when I started to go to art studios.
My relationship with artists and their work continues to be difficult, unruly, and uncertain. So often am I tepid, repulsed, seduced, lost, won-over, and forced to change my mind in reconsideration either for better or worse, that it becomes more and more difficult to stamp anything in art as certified or sealed.
If we believe Adam Kirsch’s new book, Why Trilling Matters, remembering literary critic Lionel Trilling is to gain an idea of what it means to live a life in literature.

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