Category Archives: Interviews
Material Concerns: Q&A with Mitzi Pederson
To say that JPEG images don’t do justice to Mitzi Pederson’s work at Ratio 3 (3:43, open until tomorrow) is a bit of an understatement. Her exploration of materials finds her once again working with tulle, a fine netting that
Material Concerns: Q&A with Mitzi Pederson
To say that JPEG images don’t do justice to Mitzi Pederson’s work at Ratio 3 (3:43, open until tomorrow) is a bit of an understatement. Her exploration of materials finds her once again working with tulle, a fine netting that
The Relativity of Black: Q&A with Laura Judkis
Laura Judkis doesn’t make black paintings. Sometimes she doesn’t even use black in her compositions at all. Her work is pushed by the dark theatrical narratives that are associated with the color black, and even though she often works with other
The Relativity of Black: Q&A with Laura Judkis
Laura Judkis doesn’t make black paintings. Sometimes she doesn’t even use black in her compositions at all. Her work is pushed by the dark theatrical narratives that are associated with the color black, and even though she often works with other
The Relativity of Black: Q&A with Sean Talley
Long time critic David Levi Strauss proposes that art criticism “involves making finer and finer distinctions among like things.” Sean Talley’s most recent body of work makes a similar kind of assertion with regard to color. For every black surface
The Relativity of Black: Q&A with Sean Talley
Long time critic David Levi Strauss proposes that art criticism “involves making finer and finer distinctions among like things.” Sean Talley’s most recent body of work makes a similar kind of assertion with regard to color. For every black surface
The Relativity of Black: Q&A with Vincent Como
We’re all familiar with Spinal Tap’s ruminations on the color black. In this memorable scene of the mockumentary This is Spinal Tap, the band gathers around their manager as he reveals the jacket cover for their new album, Smell the
The Relativity of Black: Q&A with Vincent Como
We’re all familiar with Spinal Tap’s ruminations on the color black. In this memorable scene of the mockumentary This is Spinal Tap, the band gathers around their manager as he reveals the jacket cover for their new album, Smell the
The Unfuckable Frontier
The limits of the human mind have something to do with really big numbers. There’s no insight into knowing that Earth is one hundred million miles away from the Sun, for example — it’s just real far. Partly, it’s a matter
The Unfuckable Frontier
The limits of the human mind have something to do with really big numbers. There’s no insight into knowing that Earth is one hundred million miles away from the Sun, for example — it’s just real far. Partly, it’s a matter
Social Practice: A Q&A with Laura Hudson
Laura Hudson has been getting out of the studio. The Baltimore-based painter organizes participatory events, documents them on video, then culls her compositions from the nuanced moments hidden in the hours of footage. For her latest project Laura organized a sleepover
Social Practice: A Q&A with Laura Hudson
Laura Hudson has been getting out of the studio. The Baltimore-based painter organizes participatory events, documents them on video, then culls her compositions from the nuanced moments hidden in the hours of footage. For her latest project Laura organized a sleepover
Modular Abstraction: A Q&A with Judy Rushin
Practical necessity is Judy Rushin’s muse. Well, not exactly. Her Modular series of sculptural paintings are made to be disassembled and reconfigured again; site-specific works that can travel well. Individual modules are aggregated into compositions for new exhibition layouts, then stacked
Modular Abstraction: A Q&A with Judy Rushin
Practical necessity is Judy Rushin’s muse. Well, not exactly. Her Modular series of sculptural paintings are made to be disassembled and reconfigured again; site-specific works that can travel well. Individual modules are aggregated into compositions for new exhibition layouts, then stacked
Contemporary Wing Opens in D.C.
I catch up with Lauren Gentile, founder and director of newly opened D.C. gallery Contemporary Wing, to talk about her new exhibition space, her previous project “Next Generation,” and her inaugural show featuring the work of Hedieh Javanshir Ilchi.
Contemporary Wing Opens in D.C.
I catch up with Lauren Gentile, founder and director of newly opened D.C. gallery Contemporary Wing, to talk about her new exhibition space, her previous project “Next Generation,” and her inaugural show featuring the work of Hedieh Javanshir Ilchi.
Material Politics: Q&A with Wilmer Wilson IV
Wilmer Wilson’s a busy man. On Thursday he’ll be channeling Henry Box Brown in a performance that’s part of the city-wide public art extravaganza called the “Five by Five Project.” He also opened his first solo show at Conner Contemporary two weeks ago, “Domestic Exchange”, which is on view through May 5th. I recently caught up with Wilmer to ask him a few questions about his work at Conner, and about his upcoming performances for the 5×5 Project.
Material Politics: Q&A with Wilmer Wilson IV
Wilmer Wilson’s a busy man. On Thursday he’ll be channeling Henry Box Brown in a performance that’s part of the city-wide public art extravaganza called the “Five by Five Project.” He also opened his first solo show at Conner Contemporary two weeks ago, “Domestic Exchange”, which is on view through May 5th. I recently caught up with Wilmer to ask him a few questions about his work at Conner, and about his upcoming performances for the 5×5 Project.
A Mediated Landscape: Q&A with William Betts
This year’s New American Paintings Annual Prize has been awarded to William Betts. If you’re a longtime subscriber to New American Paintings you’re probably familiar with the work of the Houston-based artist. Betts has appeared in editions #60, #72, #84 and most recently as an Editor’s
A Mediated Landscape: Q&A with William Betts
This year’s New American Paintings Annual Prize has been awarded to William Betts. If you’re a longtime subscriber to New American Paintings you’re probably familiar with the work of the Houston-based artist. Betts has appeared in editions #60, #72, #84 and most recently as an Editor’s
Collecting Critically: A Q&A with Henry Thaggert
Andy Warhol’s relationship to abstraction is charged. Despite a late–career painterly impulse — which included the Shadows series currently exhibiting at the Hirshhorn — his pictorial language based on representation fundamentally questioned the narrative of post-war painting as defined by Clement Greenberg. And the implications of Pop Art’s
Collecting Critically: A Q&A with Henry Thaggert
Andy Warhol’s relationship to abstraction is charged. Despite a late–career painterly impulse — which included the Shadows series currently exhibiting at the Hirshhorn — his pictorial language based on representation fundamentally questioned the narrative of post-war painting as defined by Clement Greenberg. And the implications of Pop Art’s
By Any Means Necessary: Q&A with Chip Allen
Chip Allen’s letting loose. He’s squeegeed, splattered, and gesturally brushed over his geometric abstractions, and by the looks of it action painting’s winning out. His loose, intuitive marks and smudges run interference across seemingly systematic lines, the resulting balance a taut
By Any Means Necessary: Q&A with Chip Allen
Chip Allen’s letting loose. He’s squeegeed, splattered, and gesturally brushed over his geometric abstractions, and by the looks of it action painting’s winning out. His loose, intuitive marks and smudges run interference across seemingly systematic lines, the resulting balance a taut
Historical Lineage: Q&A with Matthew Craven
Much of Matthew Craven’s meticulous work exists as both colorful abstraction and surreal historical document. His transformation of images appropriated from history textbooks nudge and reconfigure the original historical narratives. And his modular treatment of familiar forms unexpectedly activates their hidden potential
Historical Lineage: Q&A with Matthew Craven
Much of Matthew Craven’s meticulous work exists as both colorful abstraction and surreal historical document. His transformation of images appropriated from history textbooks nudge and reconfigure the original historical narratives. And his modular treatment of familiar forms unexpectedly activates their hidden potential
Progress Report: Q&A with Kris Chatterson and Vince Contarino
Give it time and the Internet will mobilize for change in just about any arena. So it’s not surprising that artist-run exhibition spaces — always bastions of change — are increasingly striving for a stronger onlinepresence, sometimes even eschewing fixed brick-and-mortar
Progress Report: Q&A with Kris Chatterson and Vince Contarino
Give it time and the Internet will mobilize for change in just about any arena. So it’s not surprising that artist-run exhibition spaces — always bastions of change — are increasingly striving for a stronger onlinepresence, sometimes even eschewing fixed brick-and-mortar
The Writing’s on the Wall: Q&A with David Kramer
Considering current events, it may be easy to wonder if David Kramer’s paintings have a slight political bent. Much like the characters in his work, we’ve had to collectively reassess our own aspirations amid the failed promises of the credit and housing bubbles. But
The Writing’s on the Wall: Q&A with David Kramer
Considering current events, it may be easy to wonder if David Kramer’s paintings have a slight political bent. Much like the characters in his work, we’ve had to collectively reassess our own aspirations amid the failed promises of the credit and housing bubbles. But
D.C.’s Fair Share: Q&A with the organizers of (e)merge
The Capital Skyline Hotel, site of the (e)merge art fair. Image courtesy of (e)merge. The (e)merge art fair (September 22 – 25, 2011) — founded and organized by Conner Contemporary Art co-directors Leigh Conner and Jamie Smith, as well as by Helen Allen, founder and former
D.C.’s Fair Share: Q&A with the organizers of (e)merge
The Capital Skyline Hotel, site of the (e)merge art fair. Image courtesy of (e)merge. The (e)merge art fair (September 22 – 25, 2011) — founded and organized by Conner Contemporary Art co-directors Leigh Conner and Jamie Smith, as well as by Helen Allen, founder and former
That thing you do: 10 questions for Nudashank
If Paddy Johnson calls you a star, you must be doing something right, and lately it seems like Nudashank can’t miss. Most recently it was Out of Practice, a group show artist-run gallery curated at the temporary Art Blog Art Blog exhibition space in Chelsea, which gathered a
That thing you do: 10 questions for Nudashank
If Paddy Johnson calls you a star, you must be doing something right, and lately it seems like Nudashank can’t miss. Most recently it was Out of Practice, a group show artist-run gallery curated at the temporary Art Blog Art Blog exhibition space in Chelsea, which gathered a
Capitol ideas: Heiner Contemporary opens in D.C.
With a few exceptions, most art galleries left the DC neighborhood of Georgetown ten years ago in search of cheaper rent. Many of them settled on the 14th Street corridor and the 1515 building before gentrification and skyrocketing rents recently pushed some of the bigger players toward
Capitol ideas: Heiner Contemporary opens in D.C.
With a few exceptions, most art galleries left the DC neighborhood of Georgetown ten years ago in search of cheaper rent. Many of them settled on the 14th Street corridor and the 1515 building before gentrification and skyrocketing rents recently pushed some of the bigger players toward
Well Hung: Q&A with Sam Gilliam
Sam Gilliam’s most celebrated accomplishment — the suspended painting — made its debut at the Corcoran Gallery of Art in September 1969. While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam’s sculptural approach was revolutionary in that
Well Hung: Q&A with Sam Gilliam
Sam Gilliam’s most celebrated accomplishment — the suspended painting — made its debut at the Corcoran Gallery of Art in September 1969. While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam’s sculptural approach was revolutionary in that
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