In the midst of preparing for her upcoming retrospective, which will be on view at the Museum of Modern Art beginning October 23, 2005, Elizabeth Murray sat down with the painter Robert Storr, curator of the exhibition, and Rail publisher Phong Bui to talk about her life and work at her studio loft in Tribeca.
Marcel Dzama: The Course of Human History Personified at David Zwirner and Jon Pylypchuk: I have thought deep into this trouble at Friedrich Petzel GalleryBy Daniel Baird
When I first saw Ask the Dust, a chaotic exhibit at The Drawing Center in 2003 of the work of the Royal Art Lodge, a loose collective based in Winnipeg, Manitoba, I was by turns exhilarated, amused, and ambivalent. Here was a group of young artists making heaps of art of every conceivable kind—collaborative drawings, paintings, sculptures, videos, performances, and even music—not in an expensive loft in New York or Los Angeles, but in what might appear to Americans to be the cultural isolation of the windswept Canadian prairies.
Ann Reynolds is Associate Professor of Art and Art History, and Womens and Gender Studies at the University of Texas at Austin. She is the author of Robert Smithson: Learning From New Jersey and Elsewhere (MIT Press, 2003).
Born in Chicago, he grew up in Los Angeles, and after having earned a B.A. from Trinity College in Hartford, CT in 1968, William Bartman immediately became involved in stage and film productions throughout the 1970s and early 80s. At the West Coast Theatre Company in LA, he produced and directed several plays. Around the same time, he founded an artists-in-the-schools program, in addition to a theatre program at the federal penitentiary in Lompoc, CA, which included the staging of an all-inmate production of One Flew Over the Cuckoos Nest, as well as his work as director and co-writer of the 82 movie OHaras Wifea comedy-drama starring Jodie Foster, Ed Asner, and Mariette Hartley.
Rainer Ganahl, born in Austria, studied art in Vienna, Paris, and Düsseldorf; since 1990 he has been living predominantly in the United States. His recent exhibition at the Museum of Modern Art in Vienna, Road to War, was devoted to the post-9/11 wars in Afghanistan and Iraq; Spring Publications has just issued Counting the Last Days of the Sigmund Freud Banknote, containing reproductions of a series of text drawings made in 2001-02. An exhibition, Please, teach me Rainer Ganahl and the Politics of Learning, will be on view at the Wallach Art Gallery at Columbia University from 28 September to 10 December. This show, which is a sort of mini-retrospective, provided the occasion for this interview.
I have seen the future: it is soft, green, and fuzzy. The future is named Morizo and Kiccoro, the mascots of Expo 2005 in Aichi, Japan, the first World’s Fair of this century. Morizo and Kiccoro, typical yruchara anime characters, cleverly designed public relations devices, are distinctive postwar “cute” (kawaii) creations. Possessing tiny limbs and unable to speak or be mobile, with vacant features and no emotion, yuruchara are introverts even the shyest Japanese can relate to. “Hello Kitty,” an yruchara most Americans are familiar with, was one of many originally created during the l970s to lasso young girls into Japan’s rapidly expanding postwar consumer culture.