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Category Archives: Interviews

“I don’t necessarily feel part of a specific movement, but I do feel like there are kindred spirits out there among my peers. What’s at stake is that each generation has the opportunity to reevaluate narratives of the past in a manner that makes sense in the present. Ideas tend to recirculate, but they might mean something completely different in today’s context. It’s important to restate them in new ways in order to better communicate them, and to engage with them not always in opposition but in response.

Specifically, I consider myself to be coming out of and responding to the Robert Ryman camp of how-to-paint over the what-to-paint. The BMPT group [Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni] was very significant to me in grad school, as well as Supports-Surfaces. From these artists, I took away an understanding of painting as an apparatus that could be dismantled and rebuilt toward new meanings. I was also influenced by many of the artists featured in the exhibition High Times, Hard Times. Artists such as Ree Morton and Howardena Pindell were a revelation for their insistence on experimenting with materials and injecting subjectivity into the work without turning out overtly historic, expressionistic artworks. I see myself as building from all these perspectives, not just one singular history.”

– Alex Olson (Walker Art Center Interview with Eric Crosby)

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“My tastes in art are not dissimilar from my taste in music (Wire, Big Black, Joy Division) or movies (Kubrick, Bunuel, Scorsese) all of which tend towards angst, black humor, irony, obliqueness, existentialism, and anti-heroics (and in the case of the movies, intense, well-constructed visuals.) That said, the shows I’ve done at the MCA are only a partial reflection of my taste (and my taste as mediated by the larger vision of the institution.)

I think many of the shows that I’ve done here at the MCA reflect my interest in work that has a certain tension between emotionally intense content or subject matter and coolly detached formal execution (Sharon Lockhart, Gillian Wearing, and to some degree Wolfgang Tillmans.) Other artists I really admire/would love to work with include Mike Kelley, Aida Ruilova, Richard Kern, Jim Lambie, Eva Rothschild, Richard Hawkins, Paulina Olowska, Douglas Gordon, Richard Rezac, Slater Bradley, Marc Camille Chaimowicz, Paul McCarthy, Richard Prince, Daria Martin, Anselm Reyle, and Ashley Bickerton, among many many others.

I think my taste is a little more inclined towards weirder and more willfully dark and perverse things than it was a while ago (when I was much more conceptually-minded.) I’m not a huge fan of overly earnest, overproduced, and melodramatic video or photography, and am not so keen on do-gooder art (socially progressive endeavors masquerading as art).”

– Dominic Molon (Chicago Artist Resource interview)

“Strange conversations are going on these days between physics and aesthetics, scientists of the eye, the brain, and that extended nervous system known as “the media”; between biologists and iconologists. Archives of scientific images accumulate, and a new, image-and media-conscious account of the history of science emerges. An inquiry into a host of related topics is inaugurated: visual culture, media studies, studies of word and image, audio-visuality and performance; visual-verbal cognition; visual anthropology; visual and material culture. This form of image-science is a globally distributed phenomenon mainly within the academy, but to a large extent beyond it as well in the realm of public and popular writing, where the commonplace notion of a pictorial turn rules.”

W.J.T. Mitchell article

What about the risks inherent in debuting a new and unfamiliar virtual fair model at a time when the art market is still in an uncertain state?
“I think this model will work in an upmarket as well as in a downmarket. The market is tougher presently, and this event enables the collector who is working that much harder to maintain his or her own business to have the ability to still be engaged in an art fair experience and in the art world. I think I speak for all dealers when I say we are all working to expand our horizons and want to build our client base. There is that kind of excitement now. David Zwirner was the first dealer to sign on as an exhibitor in this fair. He said to me that it was interesting because his father, the dealer Rudolph Zwirner, started the Art Cologne fair, and the dealer Ernst Beyeler spearheaded Art Basel, and there was a team of New York dealers who started the Gramercy Hotel Fair which became the Armory Show. So in a sense, this new fair I am doing is a fair that has been designed by a dealer for dealers. Its emphasis is on being a platform for galleries and finding ways to best highlight their programs and the credibility of what they are doing.

-James Cohan interview (Artinfo)

“What drew me to contemporary art originally was the way it seemed both to engage the historical field and to access the contemporary moment. Art history suggested that if you could follow a line, say, from the 19th century to the present, you might grasp the very trajectory of history. That was an illusion, of course, but a powerful one; it was an ego trip, too, to imagine you could surf the dialectic in this manner. Yet it made for a historical consciousness on the part of particular artists and critics that is not so evident today.”

Hal Foster interview