“They said, ‘You’ll be in charge of the children and the dogs.’ And I said, ‘Okay! But what does that even mean?’”
This fall, Max Galyon, at my invitation, mounted an exhibition of his paintings and sculptures in my studio in Sunset Park, Brooklyn. The show was intended to create a setting for spontaneous conversations between artists outside of any commercial context, and was open to the public on certain days.
“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.”
“People don’t understand the new pictures; they are really confused. Frequently they ask how I found this material. I say, ‘in my grandmother’s trunk,’ but that’s not true.”
Photographers Matt Siber and Alec Quid discuss Siber’s work, and the imagined—yet very real—space that it occupies.
Imagine: You attend a show called De lo que soy (Of what I am) and see a series called Nesting, large-format Polaroids that ingeniously depict cultural dislocation and migration through dreamlike images of wooden birds, symbols of freedom.
Weiner, whose work is currently on view at Beyer Projects, discusses the imperatives of need in language, in life and in getting the job done with the poet Marjorie Welish.
“My films are very Spanish, but on the other hand they are capriciously personal. You cannot measure Spain by my films.”
“Making an art work involves the transformation of matter, paper and materials into a process of animation or psychic elevation of material stuff.”
“Maybe there shouldn’t be any difference between how one looks at art and how one looks at anything else?” And I work on that premise. If it’s interesting, it’s interesting.”
A look back to nearly twenty years ago, as Richard Prince discusses the jokes, cartoons and gangs that populate a lifetime of work, with Marvin Heiferman.