Interviews

Jen Bervin and Dianna Frid

Dianna Frid. NYT. APRIL 24, 2014, RICHARD H. HOGGART, 2014; embroidery floss and graphite mounted on canvas, 15 × 20 inches. Photo: Tom Van Eynde.

From our friends at BOMB Magazine, today we bring you a conversation between artists Jen Bervin and Dianna Frid. They discuss color as a system of classification, Art Povera, and language. Diana Frid says “In classifying, I’m also alluding to the absurdity of classification, because no one is reducible to just one thing. All systems start out idiosyncratically.” This piece was originally published in BOMB 137,[…..]

Summer Session – Joanne Greenbaum by Jeremy Sigler

Untitled, 2012, oil and ink on canvas, 90×70 inches. Images courtesy of the artist; Shane Campbell Gallery, Chicago; greengrassi, London; and Nicolas Krupp Gallery, Basel.

For this Summer Session we’re thinking about going Back to School, and today from our friends at BOMB Magazine we bring you Jeremy Sigler’s interview with Joanne Greenbaum. In it, Greenbaum and Sigler talk about the problem with teaching as an artist, the value (or lack thereof) of crits, and their ongoing love affair with academically out-of-vogue modernism and its tenets of originality, authenticity, and revelation. This interview[…..]

Summer Session – Suzanne Lacy on the Feminist Program at Fresno State and CalArts

CalArts students at Klubnikin Packing Co., downtown Los Angeles, in Maps, 1973. Happening in Los Angeles, CA. Photo: Susan Mogul. Courtesy of Suzanne Lacy.

Back to School is the focus of this month’s Summer Session, and today we bring you an interview from our friends at East of Borneo between Moira Roth and Suzanne Lacy, illustrating the ways in which Lacy’s graduate experience shaped her as an artist. Here, Lacy describes how feminism as part of her formal education was inextricably linked to her nascent art practice, and how the[…..]

Summer Session – Denise Gray: MOCA Education Department

Image courtesy of The Museum of Contemporary Art, Los Angeles. Photo: Sean MacGillivray.

For this Summer Session we’re going Back to School, and today we bring you Sasha Lee’s interview with Denise Gray of the MOCA Education Department. Here Gray talks about her work as an educator and her role in MOCA’s apprenticeship program, which is designed to encourage high-school students to engage with the local art community by attending talks, visiting exhibitions, and curating their own events. This interview[…..]

Summer Session – Interview with David Levi Strauss

John Berger and David Levi Strauss, 2009. Photo: Yves Berger.

This Summer Session we’re going Back to School, and today we bring you an interview with David Levi Strauss by Amelia Rina. Rina had first been interviewed by Strauss in 2013 for admission to the School of Visual Arts’ MFA Art Writing and Criticism program, and here returns to speak with Strauss about his perspectives on writing, academia, and his role as an educator. Throughout[…..]

Summer Session – Bad at Sports: Interview with Kehinde Wiley

Kehinde Wiley, Leviathan Zodiac (The World Stage: Israel), 2011; oil and gold enamel on canvas, 115 x 79.75 in. (framed). Collection of Blake Byrne. Courtesy of Roberts & Tilton, Culver City, CA.

This Summer Session we’re thinking about celebrity, and today we bring you an interview from the podcast Bad at Sports with artist Kehinde Wiley, courtesy of our sister publication Art Practical. Wiley, a highly celebrated artist himself, is best known for his large Orientalist paintings of men of color, utilizing the immaterial visual vernacular of authority and the materiality and scale of wealth to reframe his anonymous, systemically disenfranchised subjects[…..]

Summer Session – Guerrilla Girls Talk the History of Art vs. the History of Power

Today for our Summer Session topic of celebrity, we bring you an interview from The Late Show with Stephen Colbert with the feminist art activists the Guerrilla Girls. Colbert and the Guerrilla Girls talk about the ways in which institutional power limits the possibilities for representation in museums and galleries, thereby shaping the narrative of art history and also popular taste. Moreover, the interview itself is[…..]