Art
In Conversation
John Elderfield, Jennifer Field, Lauren Mahony, and Delphine Huisinga with Phong Bui
John Elderfield, Chief Curator Emeritus of Painting and Sculpture at MoMA, who organized de Kooning: A Retrospective (September 18, 2011 – January 9, 2012) along with his associates Jennifer Field, Lauren Mahony, and Delphine Huisinga, paid a visit to Art International Radio to talk with publisher Phong Bui about the remarkable life and work of Willem de Kooning.
In Conversation
RITA ACKERMANN with Anne Sherwood Pundyk
Late in October, when I entered painter Rita Ackermann’s studio in Brooklyn’s Navy Hill, she was working on three works on paper on the floor, pouring thinned cerulean blue paint, stopping, looking, working the paint into forms with a wide brush, then stopping and looking again.
Missing Vita
By Bill JensenVita Dear Vita // Colors hued to tight transitions / Non-Referential // Monastic studio practice / Endless belief, deep dedication
In Conversation
BONNIE MARRANCA with Patricia Milder
On the occasion of the 100th issue of PAJ: A Journal of Performance and Art, Bonnie Marranca, editor and publisher, and author of three collections of essays, met Rail Managing Art Editor Patricia Milder to discuss the journal, as well as her life and work
OverRuled
Performance by Shirin Neshat
By Eleanor Heartney
On a stage above the audience’s eye level, men in white shirts murmur discreetly to each other as they page through dusty folios. They rummage through old books strewn on a long table, piled on the floor and stashed haphazardly on shelves.
In Conversation
CHARM LIKE A DRUG
MAURIZIO CATTELAN with Jarrett Earnest
In the late 1980s Maurizio Cattelan emerged on the international art circuit with sculptures that appeared equal parts sight-gag and natural history diorama. Combining taxidermied animals, wax figures, and the tears of a clown, he has reigned as court jester of the art fair set for the better part of two decades.
SARAH CANRIGHT
Curated by Nic Nicosia
By Phong Bui
The greyhound is the sole subject of all paintings in Sarah Canright’s eponymously titled exhibition. Before one even recognizes this, however, one is overwhelmed by the monumental presence of her work (although none of the paintings exceed 70 by 80 inches).
UNHAPPY DAYS IN THE ART WORLD?
De-skilling Theater, Re-skilling Performance
By Claire Bishop
Ideally, the dialectic of de- and re-skilling should allow artists, directors, and choreographers to creatively rethink their output, and in ways that go beyond a mere swapping of context.
