Interviews

  • 1000 WORDS: JUSTINE KURLAND

    History Painting 101—revised. Moments serene enough to be from a Claude Lorrain, staged beneath a freeway overpass or on the banks of a toxic swamp. Pastoral bathers wear concert-tour T-shirts; highway angels with dirty fingernails shoplift Oreos; Pre-Raphaelite nymphs capture hapless boys who’ve happened on the wrong glade. Each of Justine Kurland’s photographs is a vignette from an ongoing narrative. Inspired by autobiography no less than by fairy tales, movies, Afterschool Specials, even painting in the Grand Manner, Justine’s World is an idyll where fact melts into fiction, where every girl

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  • 1000 WORDS: THOMAS HIRSCHHORN

    How much information can one receive from an artist in less than thirty minutes? Plenty, if the artist happens to be Thomas Hirschhorn. The thousand words gathered on this page are but a small fraction of the verbal barrage that was set loose with a click of my tape recorder and a few questions about Critical Laboratory, 1999, which the artist installed at the BildMuseet in the Swedish city of Umeh in late November. One of the more ambitious contributions to “Mirror’s Edge,” an international show organized by Okwui Enwezor in that small town on the northern outskirts of Europe, Hirschhorn’s

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  • 1000 WORDS: SHARON LOCKHART

    The concept behind Sharon Lockhart’s latest work is straightforward enough: Shoot a thirty-minute roll of film, from a single angle, of an audience listening to a piece of music created as a score for the film in question (by composer Becky Allen) and performed live by a chorus offstage in the orchestra pit. The film blankly registers the reaction of its less-than-rapt subjects: At the outset most follow the music more or less attentively, but eventually, with nothing to look at onstage save the camera, some begin to converse, joke around, even flirt and banter with one another.

    As simple as it

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  • 1000 WORDS: MARTIN KERSELS

    Working as a member of the dance/performance collaborative SHRIMPS, Martin Kersels figured out how to join a dulcet Conceptualism with loud noises and kickass kinetics, proving that there is a lot to be done with the dumb fact of gravity—having a body and being a body in space and time. Although he freely employs an array of media, his work always confronts and explores the mystery and sheer fun of spatial dynamics: a metal house that rumbled boisterously as he appeared to dance inside; an early piece, Brown Sound Kit, 1994, that emitted a sonic frequency purportedly disturbing enough to cause

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  • 1000 WORDS: LAURA OWENS

    Laura Owens makes wily, sensational paintings: Lines sweep into our peripheral vision, speed along as daringly as fearless schoolgirls sliding on ice, then burst unexpectedly into shapes—tiny spiraling volcanoes of color, wavering horizons, or bulky clouds. If Owens’s style—a surprising blend of mid-century formalism and Pop mischieviousness—evinces a cagey knowingness, it also reveals an unabashed delight in the voluptuousness of paint and form. With their light touch and winking palette (Rainbow Brites, avocado, harvest gold)—not to mention Owens’s open, nonpolemical disposition—her

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  • 1000 WORDS: GABRIEL OROZCO TALKS ABOUT HIS FILMS

    In his “Six Memos for the Next Millennium,” Italo Calvino dreams about a future poetry free of traditional obsessions with the human subject, a poetry about the world itself—about color and light and the infinite variety of things. Gabriel Orozco’s photographs have often reminded me of Calvino’s vision. In these images, the objects of the world—fruit, animals, human artifacts—assume a new dignity. Similarly, the artist’s recent films (he’s made five to date with a digital video camera during long strolls in New York City and Amsterdam) comprise unexpected sequences of the happenstance connections

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  • Richard Martin

    RICHARD MARTIN HAS LONG been associated with the formal presentation of fashion for contemplation. Less recollected, perhaps, as former editor of Arts magazine than as past director of the galleries at the Fashion Institute of Technology, his endeavors have always been as firmly situated in an appreciation of cultural nuance as in more overtly esthetic analysis. Hoping to balance as well as to challenge received notions of what distinguishes the vulgar from the vaunted, Martin has assumed the mantle of the legendary Diana Vreeland in curating the Costume Institute of the Metropolitan Museum of

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