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In Conversation

LATOYA RUBY FRAZIER with Greg Lindquist & Charles Schultz

During the run of A Haunted Capital at the Brooklyn Museum (March 22 – August 11, 2013) and while preparing for Witness at the Contemporary Arts Museum Houston (June 22 – October 13, 2013), the artist discussed photography, activism, and the importance of portraiture.

In Conversation


State of Mind: New California Art circa 1970 was curated by Constance Lewallen and Karen Moss and co-organized by the Orange County Museum of Art and the University of California, Berkeley Art Museum and Pacific Film Archive. Lewallen paid a visit to the Rail’s headquarters to talk about the genesis of the exhibit and more.

RAFAEL FERRER with Barry Schwabsky

On the occasion of Rafael Ferrer’s participation in the exhibition When Attitudes Become Form: Bern 1969/Venice 2013, Barry Schwabsky met with the Puerto Rican-born musician-turned-artist to find out what it was like to re-encounter his own younger self.

A Possible Reading of Matthew Barney’s Drawings

Sometimes a finger, a tool, perhaps graphite, is gagged or rubbed, pushed or pulled across a surface. A trace occurs. This trace is a record of energy spent and mime recorded. Hardware or residue: what’s left?

In Conversation

RAPHAEL RUBINSTEIN with Joan Waltemath

On May 5, Joan Waltemath met with Raphael Rubinstein at his loft in TriBeCa to talk about Reinventing Abstraction: New York Painting in the 1980s, a show he curated at Cheim & Read (June 27 – August 30).

Worlds With Us

It’s over: the contemporary was a brief period, a moment in the short American century when historical amnesia combined with postwar prosperity to flash like a strobe light on the entire world.

Studio in a School Teams Up with Mark Di Suvero

“Don’t worry, I didn’t know what I was doing either when I started,” Mark di Suvero said on a recent June morning, as he worked a hunk of rust-colored clay between his hands. The sculptor, whose towering steel monuments spot museums and plazas around the globe, sat at a kid-sized cafeteria table, his legs dangling off the edge.

History and Memory: The Velocity of Extinction

History has never succeeded at teaching a lesson, not once, not even inthe 20th century, whose colossal pedagogical commitments dwarfed the scholarly efforts of any previous hundred years.

“An Artist of the Earth.”1

Arshile Gorky is a “Geiger counter of art.”2 So said Willem de Kooning, his closest friend in the 1930s. From the start of his life’s work in the mid-’20s, he sought to assimilate the history of modern painting.

Jene Highstein
(1942 – 2013)

It was an entire time and a place that shaped us then, and not specific ideas or theories. Everything seemed open in New York in the early ’70s; anything was possible. We tried everything. And did it without money.

Sarah Charlesworth

A week or so before she died, I had lunch with her in her Connecticut retreat. It was a perfect June day. Sarah was moved easily as she prepared a remarkable Italian meal for four of us, including two Italians.


The Brooklyn Rail

JUL-AUG 2013

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