Diao’s first comprehensive retrospective, at the Ullens Center for Contemporary Art—fittingly, in the painter’s native China—is the occasion for a conversation that looks back at fifty years of artistic production.
Kasten’s photographs capture the fleeting interplay of color, form, and light in the geometric objects she assembles. She spoke to Leslie Hewitt about the expansion of their shared medium.
I don’t remember when Amy and I first met—it must have been in the mid ’90s. However, I do remember that she saved my life by being one of the few artists who genuinely seemed to admire and enjoy what I was doing at a time when my work was barely known.
William Katavolos’s career as an avant-gardist spans 60 years, culminating in his ongoing research into aquatecture, or liquid architecture. Colleague Deborah Gans places his vision within the trajectory of architectural history.
Cannon Hudson paints architectural interiors. On first glance, many of his paintings look like pictorial space populated by shapes resembling Sol LeWitt sculptures.
Elizabeth Murray and Jennifer Bartlett, painters and lifelong friends, reminisce about the ambitious New York art world of the 1960s and ‘70s in this Fall/2005 interview.
Shirley Jaffe’s distinctive and eccentric work is difficult to pin down, both in time and style. When I first came across her paintings at the Holly Solomon Gallery in New York in 1988, I had an immediate response to their idiosyncratic quality.
Jesús Tenreiro-Degwitz and I “spoke” via email from fall 2001 to late summer 2002. I have known Jesús most of my life; we became close in 1979 when we and 15 other architects founded the Instituto de Architectura Urbana (IAU) in Caracas.
Jesse Reiser and Nanako Umemoto have already produced a body of work that has exerted great influence on the practice of contemporary architecture.
Winner of the Whitney Museum’s first Bucksbaum award in 2000, Paul Pfeiffer has received attention over the last few years for his provocative digital video production.
The work of John Torreano is inspired by experiences of the American ’60s and ’70s. His early works consist of nudes, in a Pop sort of way.
Siena successfully turns his images into what they are not, coaxing their “other” from them. Seemingly without conscious intention, he transfixes the viewer like a magician, making the nonexistent become existent, in the most indirect way.
A painting of oil pastel on paper, titled Page of Signs, by Marilyn Lerner.