Pulsing from the Bottom Up
Gianni Jetzer: You got involved with performance in the early ’70s when it was low on the totem pole of…
Magazine Articles
The Future is an Empty Space
Attempting a concise survey of the work of David Maljković seems an elusive goal. Within Maljković ’s output over the last…
An Intimately, Duplicitously Reflexive Experience
Klaus Biesenbach: What is your working process? Do you start with text and then the image comes? Or do you have…
Chris Burden
It’s time to think about Chris Burden. That’s right, the artist who in the ’70s garnered attention for such performances…
Remembering Agnes Varda • Surprising Impressions
Patrick Steffen: I’ve wanted to organize this conversation since 2011, when Rita Gonzalez curated the show “Asco: Elite of the…
Fetish Eyeballs
Amy Yao’s little beauties, shiny, glassy, delicate life-size fetishes, seem to play on our lost innocence. They are remnants of…
Five Questions about Los Angeles
1. After James Ellroy and Bret Easton Ellis, who do you think should write a contemporary novel on La La Land?…
3 x Sterling Ruby
Madness and Reason in the Minimum Security Studio by Gea Politi Visiting Sterling Ruby’s studio in Vernon, California, you are…
Sound and Vision
Every Rough Edge is Gone
Joel Kyack: The red light is on. Laura Owens: Do you think we can just ask each other questions? JK:…
Matt Paweski
Matt Paweski makes domestically scaled works. The works are modest accumulations of basic wood- and metal-shop techniques — the methods…
Shaun Caley Regen
Donatien Grau: Was your first encounter with art or with artists? Shaun Caley Regen: Probably artists of some kind, whether…
Robert Heinecken
Robert Heinecken liked to describe himself not as an artist or a photographer but as a “paraphotographer.” He explained that…
Corporate Sponsorship around Global Art
Twenty-five years ago the exhibition “Magiciens de la Terre” heralded the emergence of an art-world discourse around globalization. There had…
Networks of Influence
“We are really walking a fine line — in fact, our line might be so fine that we might be…
Peter Schuyff
From Flash Art International no. 123,1985 Michael Kohn: How about starting with a serious question: Your work has been called…