Larry Clark
Mike Kelley: Tulsa was the first photographic work I ever saw that realistically depicted the drug scene. It shocked me…
Mike Kelley: Tulsa was the first photographic work I ever saw that realistically depicted the drug scene. It shocked me…
A glass full of bloodstained water in which some little fish are dying / a page of typing torn into…
originally published in Flash Art International n°186, 1996 This discourse disturbs the gaps occupied by an articulate enunciatory practice that…
The Young British Artists in “Sensation” have been growing up in public — the majority with their pants down. If they’ve…
A fascination with the socio-topographic complexity of the modern metropolis is not new in the 20th century. What is new…
Fear eats the soul Of the two gigantic Buddhas that dominated the Bamiyan Valley in Afghanistan there remains nothing but…
Massimiliano Gioni: You worked with Helmut Berger and Carlo di Palma, John Maybury and Marisa Berenson: an army of stars…
Massimiliano Gioni: Let’s go right back to the beginning, to your first show, where you presented a book that listed…
Hans Ulrich Obrist: My first question is about your beginnings — where did your work start and how did you…
LIFE: A USER’S MANUAL Karl J. Volk, New York: I am afraid that I do not know who Maurizio Cattelan…
During the 8th Istanbul Biennial in 2003 artist collective Xurban exhibited what appears to be a minimalist, untreated, rusty metal…
Originally published in Flash Art International no. 200, May – June 1998. When the paintings of John Currin were first…
You cannot escape from the world more certainly than through art, and you cannot bind yourself to it more certainly…
I arrive 30 minutes late. It is one of those mornings where you get out of the house on time…
From Flash Art no. 46 – 47, June 1974 I’ve been asked to write something about my work. So I’m…
Originally published in Flash Art International no. 264, January – February 2009. Following an invitation from Flash Art, Klaus Biesenbach,…