Not fit for human consumption.
“It’s nice when you can make connections in hindsight. Your life feels like chaos and then you realize that there are patterns.”
“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.”
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.
In a new staging of Amiri Baraka’s one-act play, the audience and performers alike are tasked with endurance.
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.
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 New York Dwellings and his mysterious absence from contemporary discourse.
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.”
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.
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
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 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.
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 creates passwords. These are not acts of secrecy or exclusivity. They propose an entry into a body of work that defuses deceptive cultural hierarchies
Marfa is arguably the most enigmatic small town in America.
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.
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.