“With film, you have sound and you can construct this whole environment that allows for a certain feeling to exist for someone watching. There’s more of a burden on a painting to develop these kinds of feelings or experiences in one frame.”
“The idea of misunderstanding is very much part of our time. In our firm, we are from all these different backgrounds, working in this Babylonian city, so we are also interested in process and the unintentional things emerging from that. It acknowledges our contemporary chaos.”
The Polish artist recently mounted a new participatory installation on Hydra Island in Greece, where Nell McClister prompted him to talk about the core of his collaborative projects: community, experimentation, and spirituality.
Weinstein elaborates on the sources behind his animated videos with Simmons, with whom he has previously collaborated. These range from telemarketing, Brecht, entertainment, and what Weinstein calls the “national pastime” of self-absorption.
“The absurdity of this material’s resistance made me want to work with the plastic, the peels. The plastic is part of us, part of me and my contribution, too, even if not directly. Plastic is estranged from me, but it is me.”
Brecht’s estrangement, Artaud’s ritual theatre, Boal’s Theatre of the Oppressed, and camp inform My Barbarian’s performance work: an investigation of what constitutes transformative cultural practice.
Sung Hwan Kim’s The Tanks at Tate Modern uses mixed media to challenge reality, and how the artist and the viewer are both figments of the imagination.
Choreographer Dean Moss speaks with one of his collaborators, playwright Young Jean Lee, about his early years as the son of civil rights workers and his current work-in-progress, a meditation on John Brown.
“Photography is a translation of color and tones—a language. And just as significant is that absolutely nobody possesses an accurate color memory.”
Clifford Owens spent the summer performing scores written by fellow artists at his PS1 studio. With Nick Stillman he looks back at the history of black performance art and forward to his MoMA exhibition Anthology.
Slovenia-based performing arts project Via Negativa explores the sin of pride in its experimental performance, Out.
Feinstein talks with fellow painter Lieberman about The Estate of Rochelle F., a pre-posthumous, post-humorous painting project for which she utilized only materials already present in her studio.
It’s a relatively limited type of adjective that clings to recent abstract painting: intricate, quiet, lyrical, seductive, mysterious, atmospheric.
Kathryn Andrews on Chris Lipomi’s shockingly expansive and daring self-installation The Cave Project.
Over the past four decades, Tony Conrad’s legendary work in minimalist music, experimental film and video, has been seminal in the development of those art forms.
The president and creative director of his own design firm and the force behind a range of interdisciplinary projects and partnerships, Bruce Mau speaks with Kathryn Simon about drift, vision, and his unique studio environment.
Pierre Huyghe, winner of the 2002 Hugo Boss Award, moves freely among different mediums, staging situations that while visually and conceptually complex, allow room for unexpected collaborations, both with other artists and with the viewer.
After nearly 40 years, Marina Abramović’s performances and installations continue to make viewers squirm. Laurie Anderson, an old friend, queries the artist on dreams and Buddhism.
Artist Josh Müller uses a variety of methods to draw into question how audiences interpret film, from resetting and rephotographing travel magazine models to taping a rescreening of a popular television series.