Joachim Pissarro has been the Bershad Professor of Art History and Director of the Hunter College Galleries, Hunter College, New York, since 2007. He has also held positions at MoMA, the Kimbell Art Museum, and the Yale University Art Gallery. His latest book on Wild Art (with co-author David Carrier) was published in fall 2013 by Phaidon Press.
| Editor's Message
During a job search at a prominent university about 20 years ago, a search committee decided not to appoint a scholar in non-Western art despite the fact that, all agreed, this person surpassed in knowledge, field research, languages, and publications almost all (few) contenders in the field. The rationale of the decision was pithily expressed by a member of the committee: He doesnt have enough Theory.
Recently Jeffrey Deitch has been much in the news. He has just returned from L.A. where he held the directorship of MOCA for three years. Within this relatively short span of time, Deitch managed to transform radically the ways we approach museums, whether as insiders or outsiders, and, further even, he may have introduced a seismic change within the Art World proper.
Fresh Window Gallery presented the exhibition NightLight from September 5 through October 18, 2014. The two-person show featured the work of Swiss-born painter Marc Egger and Japenese-Russian painter and sculptor, Miya Ando.
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.
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.
George Condo is a New York-based artist whose career launched in the East Village in the early 1980s. During this time, he also worked in Andy Warhol’s factory before moving to Los Angeles and holding his first solo exhibition in 1983.
When Joachim Pissarro and I began to organize our interviews with major museum directors—men or women who had decisively changed their institutions—from the very start we planned to talk with directors both in this country and internationally. Thus we interviewed not only Jeffrey Deitch, who had directed MOCA in LA; Philippe de Montebello of the Metropolitan; Alanna Heiss, and then Glenn Lowry, from MoMA; Massimiliano Gioni of the New Museum; and Thelma Golden of the Studio Museum in Harlem; but also Sir Norman Rosenthal from the Royal Academy, London; and Mikhail Piotrovsky at the Hermitage in St. Petersburg. In this, the eighth of our interviews, we talk with Nigerian-born Okwui Enwezor who, after a distinguished early career as curator in the United States, organized exhibitions in Europe, where now he is director of the Haus der Kunst, Munich.
Our prime interest in this interview has been to inquire on the origins of the JPNF and how this museum came to be established in this location. As most of our readers will have not (yet) visited Dubai—indeed, thus far only one of us has made the journey—we wanted to get some essential background information about Dubai’s art scene.
True to the spirit and intentions of street art, this vast and indeed wild exhibition organized by the city administration of Frankfurt took place everywhere but within the clean confines of the museum itself. The city of Frankfurt became the canvas upon which works were executed by about a dozen Brazilian taggers, writers, and graffiti artists who represented a plethora of genres.
In his luminous essay The School of Giorgione (1877) Walter Pater, asserting that painting must be before all things decorative, a thing for the eye, a space of colour on the wall, describes the art of Giorgione, as he imagines it.
Calder Foundation President Alexander S. C. Rower held a public talk with art historian Joachim Pissarro at Mnuchin Gallery on the occasion of Calder: The Complete Bronzes (October 25 February 9, 2013).
Philippe de Montebello was appointed the director of the Metropolitan Museum of Art in New Yorkin 1977 after having served at the same museum as chief curator under Thomas Hoving. When he retired in 2008 he was the longest-serving director in the institutions history, and also the longest-serving director of any major art museum.
Thelma Golden, Director of the Studio Museum in Harlem, is a native New Yorker who grew up in Queens a precocious art lover. After graduating from Smith College with a BA in Art History and African-American Studies, in 1987 she became a curator at the Studio Museum.
When one of us, Joachim Pissarro, was chief curator at the Kimbell Museum in the 1990s, he worked with Mikhael Piotrovsky, the director of the Hermitage. And so when it happened that the other one of us, David Carrier, was visiting Saint Petersburg in July, 2014, we wanted to interview Piotrovsky.
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.
On successive mornings in July, in sunny Dublin, I had the privilege of interviewing two museum directors. We talked about practical and conceptual issues—and we discussed the history of their institutions
Sylvain Bellenger, who was born in Normandy, took French degrees in philosophy and in art history. He then moved to the United States, where he held curatorial posts at the Cleveland Museum of Art and at the Art Institute of Chicago before being appointed in 2014 Director at Capodimonte in Naples.
I grew up at the complicated and taut interstices between the art gallery world and the avant-garde museum space.
Aptly named in witty double entendre, Lineage: de Kooning and His Influence focuses upon the physical lines painted by Willem de Kooning and the subsequent impact of these lines on contemporary painters as diverse as Joe Bradley, George Condo, Brice Marden, Albert Oehlen, Sue Williams, and Christopher Wool.
| Critics Page
This is not an apology for ignorance. Rather, this is an attempt to suggest that there are many more avenues of knowledge than we thinkor, that knowledge cannot be the preserve of a happy few, especially when it comes to art.
- Art, Theory, and Infancy by Joachim Pissarro
- JOACHIM PISSARRO with Alexander S. C. Rower
- JEFFREY DEITCH with David Carrier and Joachim Pissarro
- PHILIPPE DE MONTEBELLO with David Carrier and Joachim Pissarro
- ALMA EGGER with Joachim Pissarro
- Thelma Golden with Joachim Pissarro and David Carrier
- SIR NORMAN ROSENTHAL with David Carrier and Joachim Pissarro together with Darren Jones, Gaby Collins-Fernandez, and Alyona Valerie Dybunova
- MIKHAIL PIOTROVSKY with David Carrier & Joachim Pissarro
- ALANNA HEISS with David Carrier and Joachim Pissarro, with the assistance of Gaby Collins-Fernandez
- GLENN LOWRY with Joachim Pissarro, Gaby Collins-Fernandez, and David Carrier
- GEORGE CONDO with Joachim Pissarro
- BARBARA DAWSON & SEAN RAINBIRD with David Carrier & Joachim Pissarro
- OKWUI ENWEZOR with David Carrier & Joachim Pissarro
- SYLVAIN BELLENGER with David Carrier and Joachim Pissarro
- DEBORAH NAJAR with Joachim Pissarro and David Carrier
- to Phong Bui Between Skin and Paper by Joachim Pissarro