Site-Specific Works

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William Pope.L Navigates the Flint Waterways by Jennifer Junkermeier
Popel1

Not fit for human consumption.

Ethan Greenbaum by Andrianna Campbell
Greenbaum Tyvek 1

“It’s nice when you can make connections in hindsight. Your life feels like chaos and then you realize that there are patterns.”

Tom Burr by Alan Ruiz
Burr Tom 01 Bomb 134

“Some people are happy calling me an artist, others a Conceptual or post-Conceptual artist, others say sculptor, and others use a string of modifiers. Someone suggested once that I was simply performing these categories, which I like.”

Portfolio by Matthew C. Wilson

Interspecies/specie communication.

Shannon Ebner and Zoe Leonard
Zoe Leonard 0012

Both artists overturn photographic conventions to slow down our reading of physical and verbal landscapes. Their exchange touches on the retina, the sun, and camera obscura.

HEAT: Rashid Johnson’s Dutchman
Dutchman

In a new staging of Amiri Baraka’s one-act play, the audience and performers alike are tasked with endurance.

Above and Below: Gordon Matta-Clark by Lytle Shaw
Matta Clark 1 1000 Body

The 17th-century townhouses that Gordon Matta-Clark and his friends chipped away at in Conical Intersect (1975) did not collapse immediately—like, say, flimsy clapboard ranch styles built where neighborhood site plans had been rushed and mistaken.

Lauri Stallings by Andrew Alexander

The artist on performing motherhood and marriage in her new video The Breath We Took and why “write what you know” is limiting advice.

Charles Simonds’s Absence by Stephanie Weber

Charles Simonds’s New York Dwellings and his mysterious absence from contemporary discourse.

Tony Feher by Saul Ostrow
Feher 01 Body

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.”

Sheila Pepe by Ryan Johnson
Pepe 3 New Body

One of Sheila Pepe’s choice materials has been the ordinary shoelace, so present in our everyday lives as to be almost invisible. Tying your shoelaces is a ritual shared by most and may hold an exceptional significance for an artist based in New York, this great city of the pedestrian.

Seeing Ian Hamilton Finlay’s Poetics by Nick Thurston

In my view, all of my work, in all of its forms, from the simplest concrete poems to the war with Strathclyde Region, has been based on an aspiration for ordered simplicity. (In such a light do I see Saint-Just and Robespierre; in such a light, equally, do I decry Danton.)

—Letter to Francis Edeline, 2 October 1988

BOMB Global: Toronto by Rebecca Melnyk
Flightpath Toronto

On October 1, millions of people in Toronto ventured outside their homes to experience the 6th annual Nuit Blanche. Rebecca Melnyk spoke to the curators about the multi-city event and the role of public art.

Peter Eisenman by Carlos Brillembourg
Peter Eisenman 1 Body

Peter Eisenman prefers Milan to Istanbul. He is an architect and theorist whose work is firmly grounded in the European classical tradition from the Italian Renaissance to the present. 

John von Bergen by Samuel Jablon
John Von Bergen 1

Sculptor and installation artist John von Bergen pulls the emotional and cerebral trigger. Samuel Jablon speaks with him here re: site-transience, urban claustrophobia, and the so-called “honesty of materiality.”

Esperanza Mayobre by Jose Ruiz
Mayobre 2 Body

Esperanza Mayobre creates passwords. These are not acts of secrecy or exclusivity. They propose an entry into a body of work that defuses deceptive cultural hierarchies

The Marfa Sessions: Sounds across Town by Victoria Miguel
Nina Katchadourian

Marfa is arguably the most enigmatic small town in America. 

Glen Seator by Anthony Vidler
Seator 12 Body

In engaging architecture as both subject and material, over the past decade Glen Seator has challenged the terms of site specificity and transportability, as well as the traditional boundaries between art and architecture.

Jim Hodges by Stuart Horodner
Jim Hodges 01

In 1994 I saw an installation by Jim Hodges called A Diary of Flowers. It featured over 500 drawings of distinct flowers, each rendered in black or blue ball point ink on folded or opened up paper napkins. 

Sheila Levrant de Bretteville by Abby Goldstein
Sheila Levrant de Bretteville 01

Sheila Levrant de Bretteville may not be a familiar name. Like the people in her work she is, outside of her own community, an “unsung hero.”

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