Film critic and 4columns Film editor Melissa Anderson talks about Jack Hazan’s “effulgently yet casually gay” A Bigger Splash (1974), an intimate documentary portrait of English-born artist David Hockney and his coterie. The film opens at Metrograph in New York on June 21, 2019.
To read more from Melissa Anderson on A Bigger Splash, pick up the Summer 2019 issue of Artforum, or read it online.
New York–based artist Philip Vanderhyden talks about curating and reconstructing the work of Gretchen Bender (1951–2004) for shows at the Poor Farm in Waupaca County, Wisconsin (2012); The Kitchen in New York (2013); and the 2014 Whitney Biennial. He also discusses his work for FRONT International: Cleveland Triennial for Contemporary Art (2018) and his collaboration with artist and musician Stuart Argabright for a forthcoming event at Brooklyn’s ISSUE Project Room, which is copresented with Red Bull Arts New York.
For the Fifty-Eighth Venice Biennale, K.E. will bring together performance, video, sculpture, and hieroglyphs from Asomtavruli, the original Georgian alphabet, in a single architectural environment for the Georgian pavilion, curated by Margot Norton. Here, she discusses moving to New York, as well as her piece, REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation, (2019).
Akosua Adoma Owusu talks about her filmmaking process and the importance of thinking plurality in an excerpt from this interview.
Ser Serpas talks about her work and her show, “Against Attachment,” on view from April 25 through June 2, 2019 at Goethe-Institut Curatorial Residencies, Ludlow 38, in New York.
New York-based writer Christopher Glazek’s 2017 investigation of the Sacklers for Esquire helped inspire Nan Goldin’s activism against the Sackler family—a family which owns Purdue Pharma, the manufacturer of Oxycontin. Here, Glazek talks about Goldin’s actions at the Metropolitan and Guggenheim museums, as well as his own interest in what he calls “billionaire democracy.”
This video is part of an Art and Activism package for the May 2019 issue of Artforum.
Los Angeles-based photographer Paul Mpagi Sepuya talks about his portraiture, his thoughts on New York and LA, and his show “The Conditions,” on view at Team Gallery through April 20, 2019. Sepuya was the subject of an Artist Project in the March 2019 issue of Artforum, which can be read in print, or online here.
Musician Stephen O’Malley—founder of the drone-metal band Sunn O)))—talks about his approach to sound, his collaborations with the late Scott Walker, and Sunn O)))'s latest album, Life Metal, which is out on April 13, 2019.
Bookforum presents “Fool that I Am,” a Valentine’s Day reading featuring Lexi Freiman, Amitava Kumar, Sam Lipsyte, Minna Zallman Proctor, and Jess Row, at the New Museum in New York, 2019.
Writer/performer Nicky Paraiso, and MacArthur Fellow and theater artist John Jesurun discuss their collaboration, now my hand is ready for my heart: intimate histories, which will run at La MaMa Experimental Theater Club in New York City through April 7.
Nina Katchadourian talks about her work dealing with time and boredom, as well as her work Songs of the Islands: Concrete Music from New York, 1996.
Ben Morgan-Cleveland talks about the sculptures he’s been making in Prospect Park in New York.
Film critic and 4columns Film editor Melissa Anderson talks about Jack Hazan’s “effulgently yet casually gay” A Bigger Splash (1974), an intimate documentary portrait of English-born artist David Hockney and his coterie. The film opens at Metrograph in New York on June 21, 2019.
To read more from Melissa Anderson on A Bigger Splash, pick up the Summer 2019 issue of Artforum, or read it online.
New York–based artist Philip Vanderhyden talks about curating and reconstructing the work of Gretchen Bender (1951–2004) for shows at the Poor Farm in Waupaca County, Wisconsin (2012); The Kitchen in New York (2013); and the 2014 Whitney Biennial. He also discusses his work for FRONT International: Cleveland Triennial for Contemporary Art (2018) and his collaboration with artist and musician Stuart Argabright for a forthcoming event at Brooklyn’s ISSUE Project Room, which is copresented with Red Bull Arts New York.
For the Fifty-Eighth Venice Biennale, K.E. will bring together performance, video, sculpture, and hieroglyphs from Asomtavruli, the original Georgian alphabet, in a single architectural environment for the Georgian pavilion, curated by Margot Norton. Here, she discusses moving to New York, as well as her piece, REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation, (2019).
Akosua Adoma Owusu talks about her filmmaking process and the importance of thinking plurality in an excerpt from this interview.
Ser Serpas talks about her work and her show, “Against Attachment,” on view from April 25 through June 2, 2019 at Goethe-Institut Curatorial Residencies, Ludlow 38, in New York.
New York-based writer Christopher Glazek’s 2017 investigation of the Sacklers for Esquire helped inspire Nan Goldin’s activism against the Sackler family—a family which owns Purdue Pharma, the manufacturer of Oxycontin. Here, Glazek talks about Goldin’s actions at the Metropolitan and Guggenheim museums, as well as his own interest in what he calls “billionaire democracy.”
This video is part of an Art and Activism package for the May 2019 issue of Artforum.
Los Angeles-based photographer Paul Mpagi Sepuya talks about his portraiture, his thoughts on New York and LA, and his show “The Conditions,” on view at Team Gallery through April 20, 2019. Sepuya was the subject of an Artist Project in the March 2019 issue of Artforum, which can be read in print, or online here.
Musician Stephen O’Malley—founder of the drone-metal band Sunn O)))—talks about his approach to sound, his collaborations with the late Scott Walker, and Sunn O)))'s latest album, Life Metal, which is out on April 13, 2019.
Writer/performer Nicky Paraiso, and MacArthur Fellow and theater artist John Jesurun discuss their collaboration, now my hand is ready for my heart: intimate histories, which will run at La MaMa Experimental Theater Club in New York City through April 7.
Nina Katchadourian talks about her work dealing with time and boredom, as well as her work Songs of the Islands: Concrete Music from New York, 1996.
Ben Morgan-Cleveland talks about the sculptures he’s been making in Prospect Park in New York.
Bunny Rogers talks about the motivations behind her work in an excerpt from this interview.
The trailer for Tiona Nekkia McClodden’s I prayed to the wrong god for you (2019), which will premiere at the 2019 Whitney Biennial.
Music: Plegaria a Chango by Celia Cruz.
ALTERNATE ENDINGS, ACTIVIST RISINGS highlights the impact of art in AIDS activism and advocacy today by commissioning compelling short videos from six inspiring community organizations and collectives—ACT UP NY, Positive Women’s Network, Sero Project, The SPOT, Tacoma Action Collective, and VOCAL NY, centering creative practices in activist responses to the ongoing AIDS crisis.
Maria Gaspar, On the Border of What Is Formless and Monstrous (excerpt), 2016, five-channel sound and video installation, dimensions variable.
The trailer for Wong Ping’s Fables 1 (2018), which premiered at the New Museum in 2018.
A 2-minute excerpt from Liza Béar and Keith Sonnier’s Phase II, Send/Receive Satellite Network (1977).
Petra Cortright’s yellow_rose (2016), from her show “CAM WORLS” at UTA Artist Space in Los Angeles, 2018.
Bookforum presents “Fool that I Am,” a Valentine’s Day reading featuring Lexi Freiman, Amitava Kumar, Sam Lipsyte, Minna Zallman Proctor, and Jess Row, at the New Museum in New York, 2019.
Bookforum presents “False Starts,” a Valentine’s Day reading featuring William Finnegan, Marlon James, Ed Park, Lynne Tillman, and Joy Williams, at the New Museum in New York.
Bookforum presents “Trial & Error,” featuring readings by Mary Gaitskill, Vivian Gornick, Patricia Marx, A. O. Scott, and Christopher Sorrentino, at the New Museum, New York, on February 12, 2016.
Bookforum presents “The Night We Called It a Day,” readings by David Byrne, Rivka Galchen, Ed Park, Zadie Smith, and Colm Tóibín, held at the New Museum, New York, on February 12, 2014.
LGM Television presents an excerpt from Trisha Brown, Newark (Niweweorce), 1987 at l'Opéra de Lyon.
A fragment from Ryan McNamara's MEƎM: A Story Ballet About the Internet, performed November 8–12, 2013, at the Connelly Theater in New York. Commissioned by Performa for Performa13. This clip features Jason Collins.
Winner of the 2013 Malcolm McLaren Award.
Excerpt from Eleanor Bauer’s Midday & Eternity (the time piece) (2013).
Yvonne Rainer interviewed at the Artforum offices on October 17, 2011, which is part of an ongoing commemoration of the fiftieth anniversary of Judson. Here, Rainer recalls her introduction to dance and development. For more, read Rainer’s interview here.
Sue Williamson’s Messages from the Atlantic Passage (2017), on view here at Basel Unlimited 2017.
Bali-based artist Ashley Bickerton discusses his first U.S. Survey, which is comprised of his works from the 1980s to the present. The exhibition is on view at the FLAG Art Foundation from September 23–December 16, 2017.
Group exhibition at Georg Kargl Fine Arts in Vienna featuring Andreas Fogarasi, Björn Kämmerer, Manuel Knapp, David Maljkovic, Wolfgang Plöger and Tobias Putrih. Curated by Fiona Liewehr.
Janek Schaeffer's sound and image installation piece, shown at South Hill Park during the Sound:Space event in 2007.
“Swimming Cities of Switchback Sea by Swoon is a floating art performance, a project that took the efforts of seventy-five collaborators and a year to produce. The boats, or floating sculptures, were assembled and shipped to Troy, New York, stopping by various towns along the river for impromptu performances.”
This video, timed to coincide with the opening of her newest exhibition in New York, features interviews with Swoon and with Jeffrey Deitch.
Alex Prager’s short film La Grande Sortie (2016). The work was commissioned by the Paris Opera Ballet and scored by Radiohead’s Nigel Godrich. Prager’s film accompanies production stills in “La Grande Sortie”, opening at Lehmann Maupin on September 7, 2016.
Undiscovered Territory (2016), featuring Ed Ruscha; a segment from Doug Aitken’s Station to Station, a feature film comprising sixty-two one-minute films, now available on iTunes.
The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programming as an “incubator for innovative thinking on the photographic image.”
In part 4 of The Invisible Photograph, learn how Berlin-based artist Joachim Schmid's “anti-museum” of found and discarded imagery challenges us to reconsider our assumptions of photographic worth.
Watch other parts of The Invisible Photograph series.
Part 1 (Underground): click here.
Part 2 (Trapped): click here.
Part 3 (Extraterrestrial): click here.
Part 5 (Subatomic): click here.
The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programming as an “incubator for innovative thinking on the photographic image.”
Part 5 of The Invisible Photograph, investigates how photographic technologies are being used to visualize the subatomic world at CERN, the largest particle physics laboratory in the world—where photography and the world’s most physics research collide.
Watch other parts of The Invisible Photograph series.
Part 1 (Underground): click here.
Part 2 (Trapped): click here.
Part 3 (Extraterrestrial): click here.
Part 4 (Discarded): click here.
Lyle Ashton Harris' Selections from the Ektachrome Archive is a snapshot from 1986–1996, chronicling the moments—now memories—of this charged decade, featuring over one hundred images taken by Harris.
The work was commissioned by Visual AIDS as part of “Alternate Endings,” a video program launching December 1, 2014, to celebrate the twenty-fifth anniversary of Day With(out) Art—a national day of action and mourning in response to the AIDS crisis.
The jazz pianist Jason Moran reflects on his collaborative experiences with legendary performance artist Joan Jonas. Video is excerpted from Grammar - A Documentary Film about Jazz through Jason Moran and co-directed by Radiclani Clytus, Gregg Conde, Anthony Gannon, and Joseph Paul Alvarado.
The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programing as an “incubator for innovative thinking on the photographic image.”
In Part III of The Invisible Photograph, see how the “techno archaeologists” of the Lunar Orbiter Image Recovery Project digitally recovered the first photographs of the moon taken by a set of unmanned space probes in the 1960s.
Watch other parts of The Invisible Photograph series.
Part 1 (Underground): click here.
Part 2 (Trapped): click here.
Part 4 (Discarded): click here.
Part 5 (Subatomic): click here.
Preview for Jennifer West’s Arrid Extra Dry 1965 TV Commercial Film (2013), 16mm film print painted with birth control pills, writing inks and sweat and transferred to HD.
The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programing as an “incubator for innovative thinking on the photographic image.”
Part II of The Invisible Photograph follows a team of computer scientists, archivists, artists, and curators, including Corey Arcangel, as they unearth Andy Warhol’s lost digital works.
Watch other parts of The Invisible Photograph series.
Part 1 (Underground): click here.
Part 3 (Extraterrestrial): click here.
Part 4 (Discarded): click here.
Part 5 (Subatomic): click here.
The Hillman Photography Initiative at the Carnegie Museum of Art presents its inaugural year of programing as an “incubator for innovative thinking on the photographic image.”
Here, a safe haven for thousands of images is explored hundreds of feet below ground in a repurposed limestone mine.
Watch other parts of The Invisible Photograph series.
Part 2 (Trapped): click here.
Part 3 (Extraterrestrial): click here.
Part 4 (Discarded): click here.
Part 5 (Subatomic): click here.
An excerpt from Andrei Tarkovsky’s Stalker (1979). To read Andrew Hultkrans’s review of the film, click here.
Howardena Pindell’s first solo exhibition in the UK includes abstract paintings and collages drawn from two distinct periods in the artist’s career: large-scale spray paintings from the early 1970s and smaller wall-mounted three-dimensional works completed since 2007.
In this video, Pindell responds to seeing her work installed at Victoria Miro’s Mayfair gallery. The exhibition continues through July 27, 2019.
The Devonshire Collection has been passed down through sixteen generations of the Cavendish Family and encompasses fine art, design, and jewelry from the past five centuries. Forty-five masterworks from the collection will be on view in “Treasures from Chatsworth” at Sotheby’s newly expanded and reimagined New York galleries, from June 29 to September 18. In this video, the 12th Duke of Devonshire previews the works coming to New York, from Rembrandt van Rijn to Lucian Freud.
Daniel Arsham takes a near-scientific approach to art in order to transform ordinary objects—cameras, cassette tapes, mobile phones—into archaeological discoveries from a future, dystopian world. In this studio visit, the artist tracks his development from early forays in photography and painting to a formative collaboration with Merce Cunningham, through to his work today and his vision of the world in 3019.
Jasper Sharp, curator of the Kunsthistorisches Museum’s current Mark Rothko retrospective, and Sotheby’s Contemporary Art specialist Saara Pritchard examine one of the most important periods of the artist’s career.
In the 1960s, Rothko abandoned the bright colors that characterize his work of the early 1950s in favor of deep reds and burgundies. Untitled, 1960, a highlight of Sotheby’s Contemporary Art Evening Auction on May 16, illuminates this profound shift. “Seen close up and in a penumbra, as these paintings are meant to be seen, they absorb, they envelop the viewer,” wrote Peter Selz, curator of the 1961 MoMA retrospective. “For they are mirrors of our fantasy and serve as echoes of our experience.”
Sold on behalf of the San Francisco Museum of Modern Art, this work will benefit the institution’s Acquisitions Fund. Mark Rothko is on view at the Kunsthistorisches Museum, Vienna, through June 30.
Artist Jonas Wood reflects on his move to Los Angeles, the importance of the Hammer Museum, and his singular approach to creating art. Wood and his wife, artist and studio mate Shio Kusaka, have donated their works Shio Butterfly Still Life (2019) and (Line 65) (2017) as part of Artists for the Hammer Museum—a collection of pieces given by over forty leading contemporary artists to help establish a new Artist Fund at the Hammer Museum. This fund directly supports the museum’s pioneering exhibition program and work with emerging artists. The full collection of donated works will be offered across Sotheby's Evening and Day Auctions of Contemporary Art on May 16–17 in New York.
Lee Krasner’s resilient spirit and groundbreaking talent is captured in her large-scale masterpiece The Eye is the First Circle, offered as a highlight of Sotheby’s Contemporary Art Evening Auction (May 16th, New York). Contemporary art specialist Saara Pritchard joins Eleanor Naire, curator at the Barbican Art Gallery and organizer of the upcoming exhibition “Lee Krasner: Living Colour,” in an exploration of how The Eye is the First Circle exemplifies Krasner's iconic vision. Painted in 1960 following the death of her husband, Jackson Pollock, this immense canvas is the embodiment of Krasner’s “Umber” series, whose twenty-four gestural works form the pinnacle of her oeuvre.
The Metropolitan Museum of Art presents “The Artist Project,” a video series in which artists respond to the Met’s collection of art. Here, Nan Goldin talks about the work of Julia Margaret Cameron.
The Metropolitan Museum of Art presents “The Artist Project,” a video series in which artists respond to the Met’s collection of art. Here, Carolee Schneemann talks about Cycladic female figures.
Artist Tony Oursler talks with Louisiana Channel about collaborating with David Bowie on the music video for “Where Are We Now” (2013). To read Tony Oursler’s piece on the late David Bowie, pick up the March 2016 issue of Artforum, or click here.
Interview with Shigeko Kubota at her studio from 2014. To read Caroline A. Jones’s Passages piece on Shigeko Kubota (1937–2015), click here.
“Interpretation is the revenge of the intellectual upon art,” Susan Sontag, one of America’s most astute interpreters of art, once wrote—surely with a touch of irony. But is critical thinking really an enemy of the creative spirit? Or is it precisely this friction that makes for a richer, more dynamic cultural landscape? This conversation addresses the necessity, and the limits, of both art and criticism, and how the relationship between artist and critic has evolved over time.
Moderator: Jennifer Krasinski, Senior Editor, Artforum.
Participants: Rhonda Lieberman, Writer and Artist, Contributing Editor, Artforum; Carroll Dunham, Artist and Critic; Tobi Haslett, Writer and Critic.
An excerpt from a lecture by critic J. Hoberman on Jack Smith’s Flaming Creatures (1963) and No President (1968) at the Filmmakers Cooperative in New York, November 3, 2018. A full transcript of the lecture is available to read here.
Artist Zachary Cahill speaks with critic Jan Verwoert about Cahill’s exhibition “USSA Love Chapel” at Regina Rex Gallery, May 21–June 25, 2017.
Actress Fiona Shaw and philosopher Simon Critchley discuss the tragedy of Medea in this walk through of “A World of Emotions: Ancient Greece, 700BC–200AD,” on view at the Onassis Cultural Center in New York until June 24, 2017.
Philosopher Simon Critchley speaks about collaborative relationships at the Guggenheim Museum as part of “It Takes Two,” a symposia presented on the occasion of the retrospective “Peter Fischli David Weiss: How to Work Better,” on April 23–24, 2016.
Artist John Knight speaks with art historian Bettina Funcke about his site-specific works that engage institutional critique. This video is part of Artists Space’s “Dialogues” series, in which Funcke speaks with an influential member of the art world about their life and work.
Tony Conrad talks about rhythm, being an artist, his influences and his filmmaking process at Doug Aitken’s “MIRROR HAPPENING” in Seattle, 2013.
A panel on the exhibition “Language of the Birds: Occult and Art,” moderated by curator Pam Grossman, with Professor Susan L. Aberth, artist Jesse Bransford, and musician William Breeze, on February 10, 2016 at 80WSE Gallery in New York.
A roundtable on a digital approach to poetics with panelists Dennis Tenen, Karla Nielsen, Taeyoon Choi, Kendra Sullivan, Iris Cushing, and moderated by Mary Catherine Kinniburgh at the CUNY Graduate Center on February 5, 2016.
Artists Juan Betancurth and Benjamin Frederickson speak with artist Allen Frame about “Nydia,” Betancurth and Frederickson’s newest collaborative body of work at Daniel Cooney Fine Art in New York on February 6, 2016.
The “Eye of Sauron” on the Salesforce Tower light display at night as seen from Pine Street and Mason Street in the Nob Hill neighborhood of San Francisco on Wednesday, October 31, 2018.
Ariana Reines, January 12, 2018, 2018, video, color, sound, 11 seconds.
I swear I didn’t do anything to my phone except mentally recite the phrase “warmest sunrise of the year” as I hit record.
Christian Fennesz’s “Don't Talk (put your head on my shoulder)” (Editions Mego, 1998).
The third track on Christian Fennesz’s Agora, his latest solo album (Touch Records, 2019).
In We Have Always Been on Fire, artist Morgan Bassichis sings about the abysmal political present and the long histories of burning that we come from. A spell is cast conjuring Fire Island's queer ghosts into the contemporary moment. The film blends material shot in Cherry Grove during the summer of 2017 with found footage shot in the same location during fourth of July weekend in 1976.
Martin Creed’s Understanding (2016). To read Alan Licht’s piece on Martin Creed’s “The Back Door,” pick up the September 2016 issue of Artforum, or read it online.
The music video for Anohni’s “Drone Bomb Me,” 2016, directed by filmmaker Nabil and featuring supermodel Naomi Campbell. “Drone Bomb Me” is the opening track on ANOHNI’S debut solo album Hopelessness, co-produced by Hudson Mohawke and Oneohtrix Point Never.
Music Video for DR00idS, “Vacation Apparel,” the first release from Merkx&Gwynne’s King Arthur Rock Opera project.
Contessa Stuto // CUNTMAFIA
Horny Lil' Slut
Director: Rosalina Merrihue
Assistant Director: Gabriel Magdaleno
Assistant stylists: Markko Donto & Kim De'ville
Hi Tiger, the Portland, Maine based art-punk band fronted by visual artist and performer Derek Jackson, recreates the song “The Village” by New Order, which was originally recorded as an upbeat new wave tune in 1982.
The work was commissioned by Visual AIDS as part of “Alternate Endings,” a video program launching December 1, 2014, to celebrate the twenty-fifth anniversary of Day With(out) Art—a national day of action and mourning in response to the AIDS crisis.
Music video created by Portland-based artists Brenna Murphy and Amy Faust.
In Night of 100 Solos: A Centennial Event, each of the three participating institutions—the Barbican, London, BAM in New York City, and CAP UCLA in Los Angeles—will present a ninety (90) minute performance comprised of 100 solos choreographed by Merce Cunningham. In each city, a former dancer experienced in creating Cunningham Events will work with an associate stager and other Merce Cunningham Dance Company alumni to impart the choreography to a new generation of dancers.
In Night of 100 Solos: A Centennial Event, each of the three participating institutions—the Barbican, London, BAM in New York City, and CAP UCLA in Los Angeles—will present a ninety (90) minute performance comprised of 100 solos choreographed by Merce Cunningham. In each city, a former dancer experienced in creating Cunningham Events will work with an associate stager and other Merce Cunningham Dance Company alumni to impart the choreography to a new generation of dancers.
In Night of 100 Solos: A Centennial Event, each of the three participating institutions—the Barbican, London, BAM in New York City, and CAP UCLA in Los Angeles—will present a ninety (90) minute performance comprised of 100 solos choreographed by Merce Cunningham. In each city, a former dancer experienced in creating Cunningham Events will work with an associate stager and other Merce Cunningham Dance Company alumni to impart the choreography to a new generation of dancers.
Christoph Cox discusses his new book Sonic Flux: Sound, Art, and Metaphysics (University of Chicago Press) with artist Aura Satz. The performance also includes solo sets by Maria Chavez (turntables) and Jake Meginsky (electronics).
In this performative lecture at the Whitney Museum of American Art, Hammer shares guidelines and film clips from her long-term art-making practice, October 10, 2018.
A short video of Papo Colo's Procesión-Migración, January 7, 2017 in Puerto Rico.
Sandra Bernhard performs with Thomas Bartlett at Justin Vivian Bond—Trans/Art/Family: The Vivification of NYC, September 11, 2016.
Young Jean Lee visits the Performing Garage in early rehearsals for The Wooster Group’s The Town Hall Affair (2016). To read J. Hoberman’s Performance piece on The Wooster Group, pick up the September 2016 issue of Artforum, or read it online at Artforum.com here.
Wang Dongling performs at the British Museum.
Artist C. Spencer Yeh performs a live adaptation of his project America: The Artist’s Eye with Triple Canopy editors Lucy Ives and Alexander Provan. C. Spencer Yeh also discusses his work with sound and the particularities of voice in his interview, here.
Tori Wrånes’s performance featuring Lisa Asplund, Lasse Marhaug, and Constance Tenvik, for “The Eccentrics” at the SculptureCenter in New York on January 24, 2016.
Bookforum presents “Fool that I Am,” a Valentine’s Day reading featuring Lexi Freiman, Amitava Kumar, Sam Lipsyte, Minna Zallman Proctor, and Jess Row, at the New Museum in New York, 2019.
Anthropologist Michael Taussig talks about Jean Rouch’s Les Maîtres Fous and Juan Downey’s The Laughing Alligator at Artists Space Books & Talks, December 2015.
Excerpt from Marthe Ramm Fortun’s I hate Old poetmen (February 2nd, 2012).
On New Year’s Day, 2018, Chantal Joffe set herself the challenge of working on a self-portrait every day for the coming year. This daily practice has resulted in a series of characteristically unflinching works. On the opening of her solo presentation at Victoria Miro in London, the artist walks through her studio and process.
This body of work will be on view at Victoria Miro from 11 April to 18 May, 2019.
Whose stories do tattoos tell?
In 2018, at the height of the Black Panther motion picture excitement, Doreen Garner hosts Invisible Man Tattoo, a pop-up tattoo shop in Brooklyn's Recess art space. A noted sculptor and licensed tattoo artist, Garner swaps sculpture for skin, and inks iconic Black American heroes and imagery on those who identify as being of the African Diaspora.
Doreen Garner (b. 1986, Philadelphia, PA, USA) lives and works in Brooklyn, New York. Learn more about the artist at: art21.org/artist/doreen-garner/
Does the past have a sound? Celebrated for his material-oriented practice, Kevin Beasley juxtaposes sound, silence, and sculpture to examine the legacy of cotton in the American South. Set to the beat of his improvised drumming, the film shows Beasley at work in his Queens studio finishing his multipart exhibition, “A view of a landscape,” at the Whitney Museum of American Art—his most ambitious work to date.
Kevin Beasley (b. 1985, Lynchburg, Virginia, USA) lives and works in Queens, New York. Learn more about the artist at: art21.org/artist/kevin-beasley/
Artist Sean Raspet discusses his interest in the chemical structure of flavors, scents, and how molecular analysis presents new ways of thinking about art objects and their relationship to audiences.
This video is part of Swiss Institute’s “SI: VISIONS” video series, in collaboration with UBS.
Artist Christina Forrer discusses her process of using online videos of fights with animals and people, as well as scenes of everyday conflict from life, as inspiration in her weavings.
This video is part of Swiss Institute’s “SI: VISIONS” video series, in collaboration with UBS.
Charlie Ahearn’s video portrait of artist Martin Wong and his autobiographical Chinatown series based on his youth in San Francisco and New York.
Part political satire, eco-horror and road movie, TERROR NULLIUS is a political revenge fable which offers an unwriting of Australian national mythologies. Binding together a documentary impulse with the bent plotlines of Australian film texts, Soda_Jerk’s revisionist history opens a willful narrative space where cinema fictions and historical facts permeate each other in new ways. The apocalyptic desert camps of Mad Max 2 become the site of refugee detention, feminist motorcycle gangs rule the highways, and flesh-eating sheep are recast as anti-colonial insurgents.
ALTERNATE ENDINGS, ACTIVIST RISINGS highlights the impact of art in AIDS activism and advocacy today by commissioning compelling short videos from six inspiring community organizations and collectives—ACT UP NY, Positive Women’s Network, Sero Project, The SPOT, Tacoma Action Collective, and VOCAL NY. The program represents a wide range of organizational strategies, from direct action to grassroots service providers to nation-wide movement building, while considering the role of creative practices in activist responses to the ongoing AIDS crisis.
A promo for Josephine Halvorson’s Measures, 2016, three new works presented as part of the annual “Outlooks” exhibition series at Storm King Art Center in upstate New York, which is on view May 14 to November 13, 2016.
Musician Herb Alpert and various winners of the Herb Alpert Award in the Arts talk about the award as well as the importance of the arts in our society. This video was created by Wondros, and directed by Jesse Dylan.
The official trailer for Kathryn Karwat and George Pitts’s Ann Liv Young / I Don’t Exist If You Don’t (2016), a documentary on the many characters of performance artist Ann Liv Young that combines video of her performances with in-depth interviews on her life and art.
The trailer for Maggie Lee’s Mommy (2015), a portrait of the artist’s mother before and after her unexpected death. To read Maggie Lee’s 1000 Words piece where she discusses her film, pick up the April 2016 issue of Artforum, or click here.
Trailer for Cecil B. Evans’ Hyperlinks or It Didn't Happen (2014). Part of the New York Film Festival Projections series.
