Category Archives: Conversations

Ericka Beckman, You The Better Expanded Study 3, 1984/2014, notebook drawing for You The Better (artwork © Ericka Beckman)

Playing by the Rules: Ericka Beckman in Conversation with Mary L. Coyne

By Mary L. Coyne
For the first conversation in Mary L. Coyne’s Playing by the Rules series, Coyne speaks with filmmaker Ericka Beckman about the framework of games and performance in Beckman’s films You The Better and Cinderella.

Ericka Beckman, You The Better Expanded Study 3, 1984/2014, notebook drawing for You The Better (artwork © Ericka Beckman)

Playing by the Rules: Ericka Beckman in Conversation with Mary L. Coyne

By Mary L. Coyne
For the first conversation in Mary L. Coyne’s Playing by the Rules series, Coyne speaks with filmmaker Ericka Beckman about the framework of games and performance in Beckman’s films You The Better and Cinderella.

Sarah Michelson, tournamento, 2015, Walker Art Center, Minneapolis (artwork © Sarah Michelson; photograph by Gene Pittman; photograph provided by Walker Art Center)

Playing by the Rules (Parts I–III)

By Mary L. Coyne
An introduction to Playing by the Rules, a new conversation series by curator and writer Mary L. Coyne.

Sarah Michelson, tournamento, 2015, Walker Art Center, Minneapolis (artwork © Sarah Michelson; photograph by Gene Pittman; photograph provided by Walker Art Center)

Playing by the Rules (Parts I–III)

By Mary L. Coyne
An introduction to Playing by the Rules, a new conversation series by curator and writer Mary L. Coyne.

Roberto Visani, Travel Fox, 2015, mixed-media collage, 20 x 16 in. (50.8 x 40.6 cm) (artwork © Roberto Visani)

Art Practice beyond the Home Studio: Roberto Visani and Caitlin Masley-Charlet in Conversation

By Caitlin Masley-Charlet

Caitlin Masley-Charlet, deputy director of Guttenberg Arts in Guttenberg, New Jersey, and artist Roberto Visani discuss his experiences while artist-in-residence at Guttenberg Arts and other residencies.

Roberto Visani, Travel Fox, 2015, mixed-media collage, 20 x 16 in. (50.8 x 40.6 cm) (artwork © Roberto Visani)

Art Practice beyond the Home Studio: Roberto Visani and Caitlin Masley-Charlet in Conversation

By Caitlin Masley-Charlet

Caitlin Masley-Charlet, deputy director of Guttenberg Arts in Guttenberg, New Jersey, and artist Roberto Visani discuss his experiences while artist-in-residence at Guttenberg Arts and other residencies.

Joel Tauber, The Sharing Project, installation, University Art Museum, California State Long Beach, 2015 (artwork © Joel Tauber)

Happyville in the Rearview: A Conversation between Joel Tauber and Pedro de Llano

By Pedro de Llano

Curator and art historian Pedro de Llano speaks with artist Joel Tauber about Tauber’s The Sharing Project (2012–16), an installation and film project that looks at the socialist Jewish community of Happyville (1905–1908) in South Carolina as a way to consider complex questions about social, political, and economic issues in today’s world.

Joel Tauber, The Sharing Project, installation, University Art Museum, California State Long Beach, 2015 (artwork © Joel Tauber)

Happyville in the Rearview: A Conversation between Joel Tauber and Pedro de Llano

By Pedro de Llano

Curator and art historian Pedro de Llano speaks with artist Joel Tauber about Tauber’s The Sharing Project (2012–16), an installation and film project that looks at the socialist Jewish community of Happyville (1905–1908) in South Carolina as a way to consider complex questions about social, political, and economic issues in today’s world.

Marco Breuer, Untitled (C-1485), 2014, chromogenic paper, folded/burned/scraped, unique, 19-15/16 x 16-13/16 in (50.6 x 42.7 cm) (artwork © Marco Breuer; provided by the artist and Yossi Milo Gallery)

A New Configuration: Marco Breuer in Conversation with Vanessa Kauffman

By Vanessa Kauffman

Artist Marco Breuer and Vanessa Kauffman, communications and outreach manager of Headlands Center for the Arts (Sausalito, California), discuss Breuer’s experiences as an artist-in-residence at Headlands and other residencies, and the way that the flexibility and differences in the studio set-up at each residency creates opportunities for new discoveries.

Marco Breuer, Untitled (C-1485), 2014, chromogenic paper, folded/burned/scraped, unique, 19-15/16 x 16-13/16 in (50.6 x 42.7 cm) (artwork © Marco Breuer; provided by the artist and Yossi Milo Gallery)

A New Configuration: Marco Breuer in Conversation with Vanessa Kauffman

By Vanessa Kauffman

Artist Marco Breuer and Vanessa Kauffman, communications and outreach manager of Headlands Center for the Arts (Sausalito, California), discuss Breuer’s experiences as an artist-in-residence at Headlands and other residencies, and the way that the flexibility and differences in the studio set-up at each residency creates opportunities for new discoveries.

Kija Lucas, Bristol 30, 2013, archival pigment print, 20 x 24 in. (50.8 x 60.9 cm), from In Search of Home, (artwork © Kija Lucas)

Root and Ramble: Kija Lucas and Amy Cancelmo in Conversation

By Amy Cancelmo

Amy Cancelmo, art programs director at Root Division (San Francisco, California), speaks with artist Kija Lucas about her experiences as an artist-in-residence at Root Division and other residencies, and her cross-country travels to work on her projects In Search of Home and Objects to Remember You By: An Index of Sentiment .

Kija Lucas, Bristol 30, 2013, archival pigment print, 20 x 24 in. (50.8 x 60.9 cm), from In Search of Home, (artwork © Kija Lucas)

Root and Ramble: Kija Lucas and Amy Cancelmo in Conversation

By Amy Cancelmo

Amy Cancelmo, art programs director at Root Division (San Francisco, California), speaks with artist Kija Lucas about her experiences as an artist-in-residence at Root Division and other residencies, and her cross-country travels to work on her projects In Search of Home and Objects to Remember You By: An Index of Sentiment .

Visitors in Patricia Fernández Carcedo’s studio during Headlands’ Fall Open House (photograph by Rebecca Puretz; provided by Headlands Center for the Arts)

Outside of Time: Patricia Fernández Carcedo in Conversation with Vanessa Kauffman

By Vanessa Kauffman

Vanessa Kauffman, communications and outreach manager for Headlands Center for the Arts (Sausalito, California), speaks with artist Patricia Fernández Carcedo about her experiences as an artist-in-residence at Headlands and other residencies, and the importance that walking holds within her artistic practice.

Visitors in Patricia Fernández Carcedo’s studio during Headlands’ Fall Open House (photograph by Rebecca Puretz; provided by Headlands Center for the Arts)

Outside of Time: Patricia Fernández Carcedo in Conversation with Vanessa Kauffman

By Vanessa Kauffman

Vanessa Kauffman, communications and outreach manager for Headlands Center for the Arts (Sausalito, California), speaks with artist Patricia Fernández Carcedo about her experiences as an artist-in-residence at Headlands and other residencies, and the importance that walking holds within her artistic practice.

Shana Lutker, A handsome confused puppet, 2015, mirrored glass box, fluorescent lights, wood, marble, casters, 49 x 30 x 19 in. (124.4 x 76.2 x 48.2 cm) (artwork © Shana Lutker; photograph by Cathy Carver)

Humans Have Been Human for So Long: Shana Lutker and Mika Yoshitake in Conversation

By Mika Yoshitake

Curator Mika Yoshitake and artist Shana Lutker discuss Surrealist fightfights, making sense of the past through the lens of the contemporary, and the research process for Lutker’s exhibition Shana Lutker: Le “NEW” Monocle, Chapters 1–3 at the Hirshhorn Museum and Sculpture Garden in Washington, DC (October 27, 2015–February 16, 2016), which was curated by Yoshitake.

Shana Lutker, A handsome confused puppet, 2015, mirrored glass box, fluorescent lights, wood, marble, casters, 49 x 30 x 19 in. (124.4 x 76.2 x 48.2 cm) (artwork © Shana Lutker; photograph by Cathy Carver)

Humans Have Been Human for So Long: Shana Lutker and Mika Yoshitake in Conversation

By Mika Yoshitake

Curator Mika Yoshitake and artist Shana Lutker discuss Surrealist fightfights, making sense of the past through the lens of the contemporary, and the research process for Lutker’s exhibition Shana Lutker: Le “NEW” Monocle, Chapters 1–3 at the Hirshhorn Museum and Sculpture Garden in Washington, DC (October 27, 2015–February 16, 2016), which was curated by Yoshitake.

Diana Shpungin, detail of A Break in One and Several Places, 2015, graphite pencil, horse hair broom, glazed porcelain and stoneware, 24 x 43 x 14 in. (60.9 x 109.2 x 35.5 cm) (artwork © Diana Shpungin)

Caitlin Masley-Charlet and Diana Shpungin in Conversation

By Caitlin Masley-Charlet
Caitlin Masley-Charlet, deputy director of Guttenberg Arts (Guttenberg, NJ), speaks with artist Diana Shpungin about her experiences as an artist-in-residence at Guttenberg Arts and other programs, artistic community, and the importance of having space for experimentation. This is the first conversation in a four-part series by Caitlin Masley-Charlet, focusing on artists who were recently in residence at Guttenberg Arts.

Diana Shpungin, detail of A Break in One and Several Places, 2015, graphite pencil, horse hair broom, glazed porcelain and stoneware, 24 x 43 x 14 in. (60.9 x 109.2 x 35.5 cm) (artwork © Diana Shpungin)

Caitlin Masley-Charlet and Diana Shpungin in Conversation

By Caitlin Masley-Charlet
Caitlin Masley-Charlet, deputy director of Guttenberg Arts (Guttenberg, NJ), speaks with artist Diana Shpungin about her experiences as an artist-in-residence at Guttenberg Arts and other programs, artistic community, and the importance of having space for experimentation. This is the first conversation in a four-part series by Caitlin Masley-Charlet, focusing on artists who were recently in residence at Guttenberg Arts.

Math Bass, Installation view of Math Bass: Off the Clock, MoMA PS1, New York, 2015 (artwork © Math Bass, photograph by Pablo Enriquez)

The Body is a Location: Math Bass in Conversation with Mia Locks

By Mia Locks

Curator Mia Locks speaks with artist Math Bass about ambiguity, body movement, and the recent exhibition of Bass’s work that Locks curated, Math Bass: Off the Clock, which was on view at MoMA PS1 from May 3 to September 7, 2015.

Math Bass, Installation view of Math Bass: Off the Clock, MoMA PS1, New York, 2015 (artwork © Math Bass, photograph by Pablo Enriquez)

The Body is a Location: Math Bass in Conversation with Mia Locks

By Mia Locks

Curator Mia Locks speaks with artist Math Bass about ambiguity, body movement, and the recent exhibition of Bass’s work that Locks curated, Math Bass: Off the Clock, which was on view at MoMA PS1 from May 3 to September 7, 2015.

robbinschilds, Construction IV: Olive Room, 2011, two-channel digital video and audio installation, 15 min. (artwork © robbinschilds)

Two for One: robbinschilds in conversation with Dina Deitsch

By Dina Deitsch

In the final installment of her three-part interview series, curator Dina Deitsch speaks with robbinschilds about site, collaboration, and the process of creating Constructions I–IV, which was commissioned for the 2011 exhibition Temporary Structures: Performing Architecture in Contemporary Art at the deCordova Sculpture Park and Museum.

robbinschilds, Construction IV: Olive Room, 2011, two-channel digital video and audio installation, 15 min. (artwork © robbinschilds)

Two for One: robbinschilds in conversation with Dina Deitsch

By Dina Deitsch

In the final installment of her three-part interview series, curator Dina Deitsch speaks with robbinschilds about site, collaboration, and the process of creating Constructions I–IV, which was commissioned for the 2011 exhibition Temporary Structures: Performing Architecture in Contemporary Art at the deCordova Sculpture Park and Museum.

Rudy Lemcke, Foscarnet, 1989, graphite on Fabriano Roma paper, 26.5 x 19.5 in. (67.31 x 49.53 cm.) (artwork © Rudy Lemcke)

Immemorial: The Poetics of AIDS; A Conversation with Rudy Lemcke

By Tina Takemoto
Tina Takemoto and artist Rudy Lemcke discuss his artistic practice and the poetics and politics of AIDS.

Rudy Lemcke, Foscarnet, 1989, graphite on Fabriano Roma paper, 26.5 x 19.5 in. (67.31 x 49.53 cm.) (artwork © Rudy Lemcke)

Immemorial: The Poetics of AIDS; A Conversation with Rudy Lemcke

By Tina Takemoto
Tina Takemoto and artist Rudy Lemcke discuss his artistic practice and the poetics and politics of AIDS.

Kate Gilmore, gallery installation view of Like This, Before, 2013, video, wood, glass, paint (artwork © Kate Gilmore;  image courtesy of Clements Photography and Design)

Broken Dishes: Kate Gilmore in Conversation with Dina Deitsch

By Dina Deitsch
For the second installment of her conversation series, curator Dina Deitsch speaks with artist Kate Gilmore about Gilmore’s process of creating Like This, Before (2013), and the importance of breaking things and laughing about it.

Kate Gilmore, gallery installation view of Like This, Before, 2013, video, wood, glass, paint (artwork © Kate Gilmore;  image courtesy of Clements Photography and Design)

Broken Dishes: Kate Gilmore in Conversation with Dina Deitsch

By Dina Deitsch
For the second installment of her conversation series, curator Dina Deitsch speaks with artist Kate Gilmore about Gilmore’s process of creating Like This, Before (2013), and the importance of breaking things and laughing about it.

William Lamson, Untitled (Walden), 2014, exterior view of Lamson’s floating camera obscura, color photograph (artwork © William Lamson)

Floating Cabins and Shifting Landscapes: William Lamson in Conversation with Dina Deitsch

By Dina Deitsch
In this interview, curator Dina Deitsch and artist William Lamson discuss the slippery space of video, working with and in nature, and the poetics of floating cabins.

William Lamson, Untitled (Walden), 2014, exterior view of Lamson’s floating camera obscura, color photograph (artwork © William Lamson)

Floating Cabins and Shifting Landscapes: William Lamson in Conversation with Dina Deitsch

By Dina Deitsch
In this interview, curator Dina Deitsch and artist William Lamson discuss the slippery space of video, working with and in nature, and the poetics of floating cabins.

Tamarin Norwood, Line Describing a Curve iii, 2014, adhesive vinyl peeled from Line Describing a Curve (ii),  sequence of 14 b/w digital photographs (180mm x 120mm), (artwork © Tamarin Norwood)

A Fine Line: Drawing and the Digital Ground in the Work of Tamarin Norwood

By Becky Huff Hunter
Becky Huff Hunter and Tamarin Norwood discuss video’s relationship with drawing, negotiating digital and analogue forms, pursing a research-based PhD in Fine Art, and more.

Tamarin Norwood, Line Describing a Curve iii, 2014, adhesive vinyl peeled from Line Describing a Curve (ii),  sequence of 14 b/w digital photographs (180mm x 120mm), (artwork © Tamarin Norwood)

A Fine Line: Drawing and the Digital Ground in the Work of Tamarin Norwood

By Becky Huff Hunter
Becky Huff Hunter and Tamarin Norwood discuss video’s relationship with drawing, negotiating digital and analogue forms, pursing a research-based PhD in Fine Art, and more.

030_CAA_FA11-580

Mining the Postwar Japanese Vanguard: Miwako Tezuka Speaks with Doryun Chong

By Miwako Tezuka and Doryun Chong

I specialize in contemporary Japanese art, which basically means post-1945. While doing some ground research, I realized that in the history of post-1945 Japanese art, most research was done on Gutai in the 1950s in the Kansai area, the western region of Japan, and I noticed this gap on the activities in Tokyo.

030_CAA_FA11-580

Mining the Postwar Japanese Vanguard: Miwako Tezuka Speaks with Doryun Chong

By Miwako Tezuka and Doryun Chong

I specialize in contemporary Japanese art, which basically means post-1945. While doing some ground research, I realized that in the history of post-1945 Japanese art, most research was done on Gutai in the 1950s in the Kansai area, the western region of Japan, and I noticed this gap on the activities in Tokyo.

Three Questions: Helen Molesworth Speaks with Taylor Davis

By Helen Molesworth and Taylor Davis

This conversation took place at the ICA Boston on April 28, 2010. Jill Medvedow, director of the ICA, asked the artist Taylor Davis to interview the then newly appointed chief curator Helen Molesworth.

Three Questions: Helen Molesworth Speaks with Taylor Davis

By Helen Molesworth and Taylor Davis

This conversation took place at the ICA Boston on April 28, 2010. Jill Medvedow, director of the ICA, asked the artist Taylor Davis to interview the then newly appointed chief curator Helen Molesworth.

Liz Magic Laser, Flight, 2010, performance, MoMA PS1, Long Island City, April 10, 2010 (artwork © Liz Magic Laser; photograph by Mia Tramz, provided by Derek Eller Gallery). The performance was developed in collaboration with actors Lindsey Andersen, Nic Grelli, Elizabeth Hodur, Michael Wiener, Max Woertendyke, and Lia Woertendyke.

InterAct: a reenacted interview

If the world’s a stage, then Liz Magic Laser becomes its director and all passersby are forced to perform. In 2009 Laser staged chase; the following year she produced Flight: in both works, action was registered on video and video begat action. To produce Interact, this project for Art Journal, Laser and her cast met at the East River Park Amphitheatre on two mornings last autumn: the first time to talk in the bleachers and the second time to relive the first conversation on stage.

Liz Magic Laser, Flight, 2010, performance, MoMA PS1, Long Island City, April 10, 2010 (artwork © Liz Magic Laser; photograph by Mia Tramz, provided by Derek Eller Gallery). The performance was developed in collaboration with actors Lindsey Andersen, Nic Grelli, Elizabeth Hodur, Michael Wiener, Max Woertendyke, and Lia Woertendyke.

InterAct: a reenacted interview

If the world’s a stage, then Liz Magic Laser becomes its director and all passersby are forced to perform. In 2009 Laser staged chase; the following year she produced Flight: in both works, action was registered on video and video begat action. To produce Interact, this project for Art Journal, Laser and her cast met at the East River Park Amphitheatre on two mornings last autumn: the first time to talk in the bleachers and the second time to relive the first conversation on stage.

Wojnarowicz-1987_Street-Kid

David Wojnarowicz: Against His Vanishing

By Steven Dubin

David Wojnarowicz was thrust into the national spotlight in 1989 when the National Endowment for the Arts rescinded its financial support for the catalogue accompanying the exhibition Witnesses: Against Our Vanishing, curated by Nan Goldin for Artists Space.

Wojnarowicz-1987_Street-Kid

David Wojnarowicz: Against His Vanishing

By Steven Dubin

David Wojnarowicz was thrust into the national spotlight in 1989 when the National Endowment for the Arts rescinded its financial support for the catalogue accompanying the exhibition Witnesses: Against Our Vanishing, curated by Nan Goldin for Artists Space.