“Experience is what you get when you don’t get what you want.”
Vincent Zompa is the author of the poetry collection Heard Animal and several chapbooks.
A new look at the actions, drawings, and sculpture of the late Japanese artist.
Kassab Bachi, one of the most prolific Arab painters, has never exhibited in the Arts Club of Chicago. Yet three of his drawings were found on the backs of three framed artworks in the club’s storage.
Of the various collected objects in Cameron Rowland’s studio—a fluorescent orange work coat, a bundle of street-sweeper bristles, several pot-medal badges—the most abundant are books.
Gabriele Beveridge has quite the eye for sad-looking models in posters—the kind of women who hawk things like hair dye and shampoo.
“Stephen and I went drinking and eating one night from Canal Street to Esplanade (the length of the French quarter). We spent hours talking about New Orleans and art, both of which I love.”
Ward’s Jamaican roots and home in Harlem have been recurring themes in his numerous installations. He speaks with Jaffe about three key works.
“I obtusely landed in the best place possible.”
A live conversation about performance, adventure, and objects.
I’m imagining a gouache drawing with an open-bottom black triangle starting about a quarter of the way down a page torn from a trade paperback.
“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.”
Before I met Abraham Cruzvillegas, more than once I’d heard curator Clara Kim mention in passing that he was a special person. This piqued my curiosity.
Thomas Lanigan-Schmidt on the politics of art school admissions, knick-knacks, and linguistic gate-keeping in contemporary art.
Working at opposite ends of the performing-arts spectrum, both carefully constructed public personae to adapt to and assimilate the culture that formed them.
First of all, I like Günther Uecker as a person. This is really important for me as an artist.
Ostrow visits Feher at his Bronx studio, where he muses about his past, contemplates his future, and pinpoints the exact moment when he discovered to be an artist meant to believe “I was right, even when I was wrong.”