Art
Performa
JIMMY ROBERT
with Will Fenstermaker
Robert’s performances comment on or re-interpret iconic works of art—his commission for Performa 17, Imitation of Lives, was performed over a November weekend at Philip Johnson’s modernist masterpiece, Glass House, in New Canaan, Connecticut.
Performa
ZANELE MUHOLI:
Visual Activism & Performa 17
By William Whitney
Muholi speaks with missionary fervor, noting how important it is—especially in the divisive times that we find ourselves in—for her to put content out.
In Conversation
DAVID ROW
with Barbara MacAdam
On the occasion of David Row’s recent show, Zen Road Signs, at Locks Gallery in Philadelphia, Rail contributor Barbara MacAdam met with the artist in his longtime SoHo loft filled with examples of his art from various periods.
In Conversation
JANET BIGGS
with Nancy Princenthal
Breathtakingly beautiful, like all of Janet Biggs’s work, A Step on the Sun (2012) is also—again characteristically—a haunting account of several kinds of mortal danger.
In Conversation
WALTON FORD
with Jason Rosenfeld
Walton Ford’s new exhibition of customarily grand watercolors at Gagosian Beverly Hills is titled Calafia, after the warrior queen in Garci Rodríguez de Montalvo’s Spanish novel Las sergas de Esplandián (The Adventures of Esplandián).
In Conversation
GEORGE CONDO
with Joachim Pissarro
George Condo is a New York-based artist whose career launched in the East Village in the early 1980s. During this time, he also worked in Andy Warhol’s factory before moving to Los Angeles and holding his first solo exhibition in 1983.
In Conversation
SUSAN LARSEN
with Phong Bui
Susan paid a visit to the Rail HQ for lunch and an extensive conversation about her life and work, and how she worked with New York artist Leo Rabkin in his last years to create the Dorothea and Leo Rabkin Prize in visual arts journalism—the first of its kind—from The Rabkin Foundation.
In Conversation
PETER SCOTT
with Andreas Petrossiants
By Andreas Petrossiants
I first saw Peter Scott’s work at the Emily Harvey Foundation in SoHo (April 2016), where his exhibition Picture City II addressed his major concerns: urbanism, the built environment, and mediatized representations of a changing New York.
Close Encounters
FRED MOTEN
with Jarrett Earnest
Fred Moten is a poet and literary theorist, whose book In The Break: The Aesthetics of the Black Radical Tradition (University of Minnesota Press, 2003) explored the sonic and aural lineages of the “black radical tradition.” His new book of essays, Black and Blur (Duke, 2017) charts his sustained engagement with contemporary visual art.
Remembering Linda Nochlin
EDITOR'S NOTE
Thyrza Nichols Goodeve
Last week, as though the news for feminists and women of the art world(s) wasn’t grim enough (the Weinstein allegations of abusive horror ballooning into overwhelming quantities; Artforum publisher Knight Landsman served with a damning lawsuit followed by the resignation of longtime female editor Michelle Kuo, not to mention the daily obscenity of our never-to-repent pussy-grabbing President), we learn of the passing of Linda Nochlin.
Remembering Linda Nochlin
Mary Ann Caws
Linda Nochlin, certainly the most influential writer ever on feminist art, was also a poet. Maura Reilly's edition of The Linda Nochlin Reader in 2015 includes the celebrated essay “Why Have There Been No Great Women Artists” seen freshly, thirty years after, and in fact all Nochlin's essays help the reader to see freshly—not just feminist art but details and fragments, bathers and politics, Courbet and realism, and more.
Remembering Linda Nochlin
Jason Rosenfeld
Linda Nochlin was my dissertation advisor at the Institute of Fine Art, New York University. I had been working with her second husband, Richard Pommer, and edging towards specializing in architectural history, as he was such a brilliant scholar and teacher, and had been very supportive of my work—he once said I wrote like an angel.
Remembering Linda Nochlin
Maurice Berger
Linda Nochlin was a pioneering art historian, liberating the discipline from the constraints of formalism and a view of art that was as chauvinistic as it was limited. But knowing Linda was even more impressive. She was my teacher, mentor (along with Rosalind Krauss), dissertation advisor, and friend.
Remembering Linda Nochlin
Judith Rodenbeck
When I lived on the Upper West Side of Manhattan I would often see Linda Nochlin out for her constitutional, determined of step, fierce of gaze her shock of brilliant white hair and wildly patterned outfit heading off to Riverside Park or over to Columbus Avenue, maybe for one of those excellent crumpets from the baker on the corner.
Remembering Linda Nochlin
Coco Fusco
Like so many others, I am deeply indebted to Linda Nochlin's scholarship and feminist vision.
Remembering Linda Nochlin
Martha Rosler
I knew Linda Nochlin for many years from “around”—around the feminist art community, I suppose is what I mean, and also from her days at the Institute.
Remembering Linda Nochlin
Aruna D'Souza
What a solitary pleasure, to read and reread her writing, her sentences that trip along the page with such freewheeling spunk, the way you just knew she chose a word because it rolled around on her tongue just so...
