John Arthur Peetz

  • Left: Graciela Carnevale, Encierro y Escape (Entrapment and Escape), 1968. Performance view, Experimental Art Cycle, Rosario, Argentina, 1968. Photo: Carlos Militello. Right: Robert Rauschenberg, White Painting (Three Panel), 1951, oil on canvas, 72 x 108”.
    interviews May 05, 2010

    Peter Eleey

    Peter Eleey has worked as a curator for Creative Time and, since 2007, at the Walker Art Center. Recently Eleey was appointed the curator of MoMA PS1, a position he’ll begin on July 1. Here he discusses his most recent exhibition at the Walker, “The Talent Show,” which runs until August 15.

    I FIRST LEARNED ABOUT GRACIELA CARNEVALE’S PIECE a number of years ago in Lucy R. Lippard’s book Six Years: The Dematerialization of the Art Object from 1966 to 1972, where she mentions the 1968 action in Rosario, Argentina. It is also described in Mari Carmen Ramírez’s writings, and Claire Bishop included

  • Left: Cover of How to Become an Extreme Action Hero (2010). Right: Elizabeth Streb, Performance of Catapult, 2009.
    interviews April 14, 2010

    Elizabeth Streb

    Elizabeth Streb is a choreographer, MacArthur Fellow, and founder of the STREB Extreme Action Company as well as the STREB Lab for Action Mechanics in Brooklyn. Her new book, STREB: How to Become an Extreme Action Hero, is available April 16 from The Feminist Press.

    AT THE HEART OF THIS BOOK are questions about time, space, bodies, and motion. When I first walked into dance studios in my late teens, I felt more or less like an idiot savant. I wasn’t a trained dancer and I wondered why they had adopted all these ballet practices. The moves were so wedded to music that the whole liturgy of their

  • Left: Daniel McDonald, The Crossing: Passengers Must Pay Toll in Order to Disembark (Michael Jackson, Charon, and Uncle Sam) (work in progress), 2010, mixed media, dimensions variable. Right: Daniel McDonald, The Monkey's Paw, 2005, brass, glass, sable, plastic, satin, monkey paw, 1959 book by Edward Gorey, dimensions variable.
    interviews February 22, 2010

    Daniel McDonald

    The New York–based artist Daniel McDonald is a former director of the legendary American Fine Arts gallery in New York and a founding member of the collective Art Club 2000. McDonald is participating in the 2010 Whitney Biennial, which opens on February 25, and will also have a solo exhibition at Broadway 1602 until April 10. He discusses both below.

    WHEN YOU’RE ASKED to be in a Whitney Biennial, a whole series of thoughts go through your head. One is: “What are the expectations surrounding the Whitney?” Sometimes artists make the mistake of producing pieces that are too overblown, glitzy, or

  • Left: Jennifer Kroot, It Came from Kuchar, 2009, still from a color video, 86 minutes (George Kuchar). Right: George Kuchar, The Devil’s Cleavage, 1975, still from a black-and-white film in 16 mm, 122 minutes.
    interviews February 11, 2010

    Jennifer Kroot

    In the 1990s, Jennifer Kroot was a student of the underground film legend George Kuchar at the San Francisco Art Institute and later performed in several of his films. Kroot’s documentary on the influential Kuchar brothers, It Came from Kuchar, will play at the Walker Art Center on February 11 and at Anthology Films Archives April 9–15.

    I LIKE SUPERTHEATRICAL THINGS, which is one of the reasons I enjoy films by the Kuchars. There’s an ambiguous overlap in their works where theatricality becomes camp. People often dismiss camp as a melodramatic aesthetic and associate it with gay culture. But I