Gaby Collins-Fernandez
Gaby Collins-Fernandez is an artist living and working in Brooklyn.
Alex Strada's work applies rigorous conceptual thought about the function of government and civic service to the logistic and bureaucratic processes required to make anything happen, while using aesthetics and play to create public spaces that center openness, dignity, and an invitation to make active changes in our shared social realities. Strada’s project Public Address is the result of her position as Public Artist in Residence at the Department of Homeless Services and Department of Cultural Affairs, and is currently on street corners in all twelve community districts of Manhattan.
Cielo terrenal (Earthly Heaven) and El abrazo (The Embrace) (both 2023) are artworks that show the soil in two very different ways. Soil, earth, is an element that can be seen in so many ways. For Indigenous communities, it is a goddess, it’s the mother. It’s what feeds us, and what we are made of.
In 2020, people started sending the sculptor Patricia Miranda lace. She has worked with found and vintage fabrics for years, dyeing them with hand-made cochineal and oak-gall inks, stitching them with images or together.
Writing about art is not like making art. Jack Whitten said that a painter’s sensibility is the ability to feel, entwined with plasticity, two sides of the same coin. Writing about art is like talking about feelings. It validates interior experiences by externalizing them, helping us understand what is acting upon us and what this means.
Considering that as President, Bush orchestrated the circumstances for these paintings, I wanted to know whether and how he accounts for the politics of his aesthetics. As a civilian, I was literally a piece of his constitutive power as Head of State; and the prescribed outlet for my rage at his misrepresentations and their consequences was essentially voting. Now, to our mutual surprise, we share a vocation, which means that I can evaluate him as a peer.
In an essay for the Tate’s retrospective exhibition of Georgia O’Keeffe this past summer (2016), Griselda Pollock writes that as a young art historian in the 1970s, she initially could not “see” O’Keeffe’s work.
By David Carrier, Joachim Pissarro, and Gaby Collins-Fernandez
Alanna Heiss is hailed as a founder of what we know as the “alternative space movement,” and one of the most important centers for contemporary art in the country.
When we began this ongoing sequence of interviews with museum directors, we knew that we wanted to talk with Glenn Lowry. To be a director of any museum is a complex, highly conflicted job. To be director of MoMA involves special pressures, which seem unique to the flagship American museum dedicated to collecting and reflecting on modern and contemporary art.
By David Carrier, Darren Jones, Joachim Pissarro, Gaby Collins-Fernandez, and Alyona Valerie Dybunova
When recently we interviewed Philippe de Montebello, it happened that Sir Norman was in town, and so he participated in that discussion. He had much to say which was of great interest and so we thought it natural to continue the discussion with an interview devoted entirely to him.
