The Irish playwright on grief, adaptation, and the possibilities of form.
“I didn’t want to paint figuratively. I didn’t want something that was overtly referencing the social issues around me, but I wanted to find a way to describe them. How do you internalize this? How do you make a form that forces a painting to be an experience that is not necessarily easy to see, handle, or look at?”
“No room for doubt”: the painter on her formalism, subjects, and sense of humor.
Tina Satter speaks about formalism, her perverse sense of humour and the importance of family drama.
Once, late at night after an opening, I somehow lost the tracks of the conversations around me so completely that I convinced myself it was time to ask frank and direct questions. Alex Hubbard was sitting next to me, and I could only think to ask how he felt about being categorized as an artist whose paintings and silkscreens have become associated with the “new abstraction.”
Jørgen Leth has always lived by his own rules—he’s a poet, a journalist, a filmmaker and a sports commentator, as well as Denmark’s Honorary Consul in Haiti.
To look at any painting by Robert Mangold is to see exactly what is there. For over 30 years, his work has been clear and direct.
The painter Jacqueline Humphries might find it odd that NBC uses an editing process called the “tease and squeeze”: compressing the closing credits into one-third of the screen, while outtakes and other brief clips of “promotainment” roll on the remaining two-thirds.
Barry Le Va has been making situational sculptures since the late ’60s. He and his cohorts, Bruce Nauman, Gordon Matta Clark and Carl Andre, helped reinvent what sculpture could become. Le Va and Saul Ostrow unearth the past and overturn the present.
Photographer David Seidner talks to the master of sculpture, Richard Serra, whose work continues to be honored and comprehensively exhibited throughout the decades.
Ralph Humphrey asked me about ten times what I thought of his last show. I said something different each time he asked.
Alan Uglow doesn’t neglect a single source of inspiration—from the noise of the street to the beauty of Italian luxury cars—his is a rigorous formal reflection with a subjectivity full of charm and tenderness. Alan’s paintings are beyond reductive commentary and that’s why, with him, it’s always best to stay alert.