COLUMNS

  • Frances Stark

    Los Angeles–based artist Frances Stark is widely known for combining text, image, and literary sources in her collages, which often include thoughtful though tenuous self-referential links to her roles as artist, mother, woman, and professor. “The New Vision,” an exhibition of new work, opens on November 22 at Portikus in Frankfurt.

    THIS EXHIBITION WAS quite a surprise. Although I had been planning to do it for at least a year, before I was able to start on my original plans an opportunity arose for another show, which took up a tremendous amount of energy. That large-scale exhibition, at the

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  • Michael Wolf

    The Asian- and European-based photographer Michael Wolf is known for his fine-art and editorial photographs depicting rapid growth in Asian cities. A new series of photographs made in Chicago, “Transparent City,” goes on view this week at the Museum of Contemporary Photography in Chicago and is collected in a book just published by Aperture.

    THE EXPERIENCE OF PHOTOGRAPHING in America was not much different from photographing in Asia, really. The challenge was more conceptual: After working so long in Hong Kong and China, I wasn’t sure I was capable of working somewhere else. I feel in tune with

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  • Gary Garrels

    “Oranges and Sardines,” which opened at the Hammer Museum on November 9, is one of the two final shows curator Gary Garrels organized for the museum before his departure to SF MoMA. Drawing the exhibition’s title from a poem by Frank O’Hara, Garrels invited six abstract painters—Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool—to select works by others that had influenced their thinking and practice, to be shown alongside the six artists’ own pieces. Here, Garrels talks about the conversations that shaped the exhibition.

    “ORANGES AND SARDINES” came

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  • 1000 WORDS: THE CENTER FOR LAND USE INTERPRETATION

    LIKE STONE, BRONZE, AND OTHER fundamental materials that defined the ancient ages of human industry, oil defines these times. No other raw material has such a reach into our technologies and the products that we consume. How this came to pass should be the story of our age, told and retold like myth. But the knowledge is largely preserved in a highly specialized and protected corporate college of laborers, engineers, financiers, alchemists, druids, and lords.

    The places of oil production, conveyance, storage, and processing are the physical landmarks of the petroleum age. Understanding how this

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  • Jake Chapman

    Jake Chapman is widely known as one-half of the artistic duo Jake and Dinos Chapman. The pair came to prominence with the ascendancy of the Young British Artists movement in the 1990s, and in 2003 the pair were nominated for the Turner Prize. That same year, Jake Chapman also published his first book, Meatphysics. Here Chapman talks about his second book, a novel titled The Marriage of Reason & Squalor, which was published by Fuel Publishing in the UK on October 20.

    I FELT LESS INSPIRED THAN COMPELLED to write this book. I quite like the idea of writing things badly, and the idea of picking on

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  • AA Bronson

    Artist, curator, healer, and writer AA Bronson is the executive director of New York’s Printed Matter and the NY Art Book Fair. This year, the third annual fair, at Phillips de Pury, runs October 24–26, coinciding with the ARLIS/NY Contemporary Artists’ Books Conference, which takes place October 23–26. Here Bronson talks about artists’ books and the purview of the fair and conference.

    BECAUSE THE NY ART BOOK FAIR is a nonprofit fair, our idea from the beginning was to be as inclusive as possible: We wanted to include everything from Taschen to the independent, poverty-stricken artist. We gave

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  • Adel Abdessemed

    For nearly a decade, the Algerian artist Adel Abdessemed has produced provocative artworks in numerous media, many of which take the form of actions on the street outside his home in Paris’s seventeenth arrondissement. “Situation and Practice,” an exhibition of new and recent work, opens on October 11 at the MIT List Visual Arts Center in Cambridge, Massachusetts.

    ONE OF THE NEW WORKS for this exhibition involves David Moss, the Berlin-based singer with whom I worked on my earlier video Trust Me [2006]. For the new piece, called Hot Blood, I asked him to sing a simple sentence of my devising: “

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  • Edmund White

    A member of the American Academy of Arts and Letters, Edmund White is widely known for his essays and novels on gay and artistic life, as well as for his biographies of prominent writers. In 1993, he published Genet: A Biography, for which he won the National Book Critics Circle Award. White’s brief Atlas biography Rimbaud: The Double Life of a Rebel will be published October 9.

    RIMBAUD WAS a childhood hero of mine, and it was interesting to revisit him for this short biography. I found him less heroic as a person and maybe even more interesting as a writer. I think I wrote more about him as a

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  • 1000 WORDS: CHARLINE VON HEYL

    THE BOOK IS CALLED SABOTAGE for several reasons. I like that it is the same word in several languages, and that it is, like desire, a generic, overused nonword that almost works like an image but actually stands for something simple and raw. It is also what I’m doing in my own work, always sabotaging my own concepts and approaches, my own linear advancement, my own visual expectations.

    Sabotage is always a kind of violent change, the “sabot”—a wooden clog—thrown into the machinery, creating a new situation through disruption or destruction. It describes what happens in the book while

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  • Catherine Opie

    Catherine Opie first came to prominence with her “Portraits,” 1993–97, a series of photographs documenting members of queer communities in San Francisco and Los Angeles. Since then, Opie has worked with a wide range of subjects, photographing everything from Los Angeles freeways to communities of surfers in Malibu and ice fishers in Minneapolis. Her midcareer survey, “Catherine Opie: American Photographer,” is on view at the Guggenheim Museum in New York September 26, 2008–January 7, 2009.

    I MOVED FROM Virginia to San Francisco in 1982, where I came out as a lesbian. I can’t imagine a better time

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  • Tere O'Connor

    For over twenty-five years, New York–based choreographer Tere O’Connor has been actively agitating for a nonnarrative, philosophical, and exploratory approach to dance and dance-making. O’Connor is also known as a mentor in the community and a frequent curator of dance at venues such as the Kitchen and Dance Theater Workshop in Chelsea. Here he discusses his reprise of Rammed Earth (2007), which runs September 24–28 at the Baryshnikov Arts Center in New York.

    RAMMED EARTH is an iteration of my idea that there are elisions between dance and architecture. Coming to terms with a piece of architecture

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  • Gary Webb

    For the past decade, the London-based artist Gary Webb has developed a sculptural language conversant with the medium’s modern history and playfully experimental with its intrinsic characteristics: form, mass, color, and the relationship between constituent parts. His new exhibition, “Euro Bobber,” opens at Pilar Parra & Romero in Madrid on September 18 and runs through October 25.

    Unlike my exhibition earlier this year at the Approach in London, this show comprises mainly freestanding individual sculptures; there are no wall-size “split” mirrors that visually knit together the space. What I have

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