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Juliet Helmke

is an Australian-raised, Brooklyn-based writer. With a background in art theory and sculpture, she is a recent graduate of the Art Criticism and Writing Program at the School of Visual Arts.

In Conversation with Jonas Mekas

On the occasion of his recent solo exhibition To New York With Love at James Fuentes Gallery, Jonas Mekas, the indefatigable advocate of American independent cinema, graciously took the time out of his busy schedule to meet with the graduate students of the Art Criticism and Writing program at the School of Visual Arts for an in-depth conversation.

In Conversation with George Gittoes

George Gittoes was recently able to set aside some time for an extended conversation with Railpublisher Phong Bui and his students in the MFA Art Criticism and Writing program at the School of Visual Arts, via Skype from Pakistan.

LISI RASKIN Recuperative Tactics

Kim Charles Kay’s exhibition you know it when you feel it, nested within Lisi Raskin’s installation Recuperative Tactics, is well named; its title being an apt descriptor of Raskin’s piece, which takes up the entirety of Art in General’s sixth floor.

DENISE GREEN: AN ARTIST’S ODYSSEY

Christof Trepesch’s chapter in Denise Green: An Artist’s Odyssey, a collection of essays on the career of the eponymous Australian-born, New York-based painter, opens with an emphatic assertion on the importance of color in the artist’s work. Trepesch states:

A Curator’s Quest: Building the Museum of Modern Art’s Painting and Sculpture Collection, 1967−1988

William Rubin, who served the Museum of Modern Art from the 1960s through the 1980s as a curator and later as the director of the painting and sculpture department, spent a considerable amount of effort during the first years of his tenure closing a gap in the collection by acquiring some of Matisse’s Fauve works.

Bar LunÀtico

“LIQUID LOVE” declares a giant sign running the long, narrow space of Bar LunÀtico in red and electric blue lettering. Previously housed in a windowless dive on Bedford Avenue in Bed Stuy’s east, the sign—now a nudge west and in decidedly different digs—is certainly apropos, echoing LunÀtico’s fluidity.

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The Brooklyn Rail

NOV 2019

All Issues