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…
Magazine Articles
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…
On Censorship
Over the last few months, we have witnessed several incidents of art censorship, assault and outrage instigated by a common…
Marina's Diary
As a performance artist, I always hated the theater. I didn’t think it was something real. Performance art is about…
Robert Fitzpatrick
Donatien Grau: You’ve had a very complete and fascinating career: from dean of students at Johns Hopkins University and member…
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…
The Young and the Collected
“The brilliance of art as a collectible is that it has a way of reaching out on an emotional level.…
Ostalgia
An interview with Massimiliano Gioni by Silvia Conta SILVIA CONTA: “Ostalgia” is the title of the show you have curated…
Keith Sonnier. Light and space
Keith Sonnier is one of the first artists who worked with light as a sculptural material. In the late ’60s, he started experimenting with a combinations of incandescent light fixtures, neon tubes and other materials to explore the diffusion of light through various materials and the surrounding architectural space.
Air de Paris / Florence Bonnefous and Edouard Merino
Donatien Grau: You first established your gallery in Nice. Florence Bonnefous: We first met when we were both students at…
The Prosumer Version
Appropriation is ubiquitous today — both as an artistic procedure and as a discourse. This discourse emerged in the late…
Kerstin Brätsch
Maurizio Cattelan: Ciao, Kerstin. Sorry about that before, I didn’t hear you coming. I’ve always got these things in my…