Let’s Dance
On several occasions, Christodoulos Panayiotou organized a kind of marathon that had little to do with the Greek original but…
Features
Ian Hamilton Finlay
For Ian Hamilton Finlay, not only is our contemporary world a secular, materialist and fallen one from which ideal meaning…
Simon Fujiwara
Martin Clark: Your work is very autobiographical. Can you talk about why you use your personal history so prominently in…
Glenn Ligon
and Adam Pendleton
A conversation Adam Pendleton: What are you reading these days Glenn? Glenn Ligon: I started reading fiction again after a long…
Robert Barry
Peter Eleey: When you talk about your work you put a lot of emphasis on the variability of the context…
Jules de Balincourt
During the summer of 1888 artist Paul Sérusier sojourned in Pont-Aven in Brittany, France, following the advice of artist Paul…
Terence Koh
For years now we have been witnessing a reformulation of social and political postulates that were created during the ’60s…
Gelatin Vibrations
Bice Curiger’s “Illuminations” describes contemporary art as a recursive modernism that wraps pre- and post- together in one curatorial swoop.…
Signature and Style
Anyone who has experienced a high school– or undergrad–level art program may look back at their painting or sculpture course and…
Carol Bove and Steven Claydon
Carol Bove: The editor who commissioned this conversation suggested we might talk about modernism, but I’m not really thinking about…
Heimo Zobernig
Sabine Folie: On superficial first glance one could call your work minimalist — what Clement Greenberg described as the look…
Jutta Koether
Kim Gordon: Let’s talk about Inside Job. Maybe we should explain what it is. Jutta Koether: I wanted to come…
La Grande Bouffe
Harry Lime, the cynical and diabolical character played by Orson Welles in The Third Man (1949), would have never imagined…
Circle the Wagons
Laura Mclean-Ferris: To begin this discussion about pastoralism, I’d like to ask about your most recent body of work, which…
Art & Language
Although it may be difficult or even unfair to make a true assessment of the real extent of Art & Language’s…
Franz Erhard Walther
I have always felt fortunate to have come of age as an artist during the early ’70s (turning 20 in…