Interviews – Page 10

May 20, 2024May 17, 2024

Anna Gregor: Double Space at D. D. D. D.

In Dialogue

Double Space at D.D.D.D., Installation shot. Photo taken by Rachel Kuzma

Anna Gregor often remarks, half in jest, that she wishes she were a poet. Poems, to her, come closest to immateriality; they exist in the mind and can be accessed anytime. In contrast, a painting is a unique object that must be seen in person, confined by paint, the artist’s technique, and the viewer’s presence. Gregor, a painter in New York City currently pursuing her MFA at Hunter, examines the divide between body and mind, material and immaterial, in her art. She sees a painting as having a dual nature: a physical object of paint sharing space with the viewer and an immaterial idea formed in the viewer’s mind. This mirrors the human condition, where body and mind coexist. Gregor says she often feels trapped by her physical form and its social labels—gender, age, race, and ability. Yet, she recognizes that her body is essential for her consciousness. For Gregor, making a painting is a confrontation with matter, a commitment to the material world while striving to go beyond its limits. Viewing a painting involves a similar struggle to find meaning in the artist’s creation. “ Without the physical painting, there is no idea. But without the idea, the painting is just inert matter,” she says. This intricate relationship is central to her solo show, Double Space, at D. D. D. D.

May 14, 2024July 19, 2024

Marina Kassianidou: A Partial History

in conversation

During her solo exhibition at the NARS Foundation, artist Marina Kassianidou spoke with Mary Annunziata, who previously curated Marina’s work, A Partial History, as part of the inaugural Immigrant Artist Biennial in 2020. In her exhibition at NARS, Marina presents new work inspired by her grandmother’s collection of 19th and 20th-century schoolbooks from Cyprus. On display are four photographs of selected pages from these books, four artist’s books that recreate the full original texts, and four large sculptural drawings. The show celebrates a call and response with ancestors’ material history, showcasing Marina’s time-intensive artistic process in which she works with surfaces found in her surroundings, such as walls, floors, fabrics, paper, and screens, and experiments with ways of marking that respond to the surface’s appearance, use, or history.

May 13, 2024December 6, 2024

David Samuel Stern: Does a portrait need a subject?

Stern positioning two fabric-wrapped models during a shoot in Chelsea in 2022. Photo by Jaymye Thomas

In 2018, I interviewed David Samuel Stern about his process of creating woven photographic portraits. In these portraits, he interlaced photographs into intricate, tactile artworks, emphasizing the medium’s tangible qualities. Stern has been relentlessly exploring what it means to portray through photography and the medium’s place as a recorder of time and nature. Since our initial interview, he has produced captivating new work. Here, we survey his evolution over the last six years and his current work.

May 6, 2024December 7, 2024

Jeanne Ciravolo – the resistance in making do

In Dialogue

A person standing in front of a wall with paintings

Description automatically generated — Residency at the Anderson Center, 2019, Red Wing, MN

In her mixed-media work, Jeanne Ciravolo integrates collage, print, and stitching, materializing the stories of her female relatives—their stories of loss and hope. The female figures often reference representation of women in art history, such as medieval carvings or paintings from the Renaissance. The figure imagery is based on Ciravolo’s sketches, figure drawings, photos from newspapers and magazines, or photos she took.

May 4, 2024May 4, 2024

Katie Hector & Ernesto Renda: on East & West Coast exhibitions

In conversation

Ernesto Renda and Katie Hector in their studios. Images courtesy of the artists.

Ernesto Renda and I first met on the internet, as more and more artists do. A follow turned into likes, which developed into mutual curiosity and respect for each other’s practice. Renda, who lives in New York, and I in Los Angeles, kept in touch for months, viewing miniature backlit versions of the other’s work while each suspecting there was more than met the eye. As fate would have it, Renda’s solo exhibition, The Moment of Truth, opened at Moskowitz Bayse in Los Angeles; subsequently, my solo exhibition, EGO RIP, opened at Management in New York City two weeks later. Viewing the work in person was enlightening and generated conversations around material play, intuition, and the verisimilitude of our subjects. These brief yet poignant chats inspired us to pose the questions below from the perspective of one visual practitioner to another.

April 19, 2024April 19, 2024

Judy Hoffman: Evolvers and Wildtypes at Sculpture Space

Hot Air

A person standing next to a sculpture

Description automatically generated — The artist with Big Yellow, 18″ x 11″ x 7.5”; ceramic; 2017. Photo Credit: Linda Cunningham

Ten years ago, Judy Hoffman became enthralled with clay and hand-building. The current exhibition Evolvers and Wildtypes at the Long Island City Sculpture Space is her first solo show of these ceramic sculptures. Hoffman’s ceramics’ imagery and forms tap into a previous installation work made from sculpted paper pulp, natural materials, and man-made debris. Paper clay techniques permit the bonding of wet clay to fired forms, enabling the construction of diverse configurations. These components are conjoined to initiate a dialogue between organic and mechanical elements, yielding imagery that defies expectation. The artwork evolves through a rhythm of construction and deconstruction, encapsulating cycles of creation, deterioration, and renewal. Viewers are meant to encounter an elemental rawness, surprise, and a touch of humor.

April 12, 2024March 29, 2024

Tatiana Arocha: Mama Coca

Hot Air

*Hojas en movimiento sobre el fuego [Leaves in motion over the fire]*, 2023. Soft Ground etching on Hahnemühle and pigment print on Kozo paper, hand-painted with acrylic. Triptych, each 35 1/4 x 26 1/2 inches. Photograph by Etienne Frossard

Tatiana Arocha is a Brooklyn-based artist whose practice has focused on installations that include rubbings, photographs, and drawings of plants and landscapes taken from the many ecological niches of her native Colombia. Increasingly, her art and advocacy have focused on the coca plant, notorious for its role in the war on drugs, which has destroyed indigenous communities and their territories across South America. Informed by her research, her current installations and publications highlight the coca plant’s ceremonial role in the indigenous cultures that cultivate it, pushing back on the demonization it has endured in the West. Her work also suggests new avenues for how the plant can be a force for good in the Global North and South.

April 8, 2024April 8, 2024

The Burden Archives

Featured Project

Western Addition sign, photo Sheila Stover/Erni Burden circa 1960

A 1949 US Federal law set the stage for crisis-level upheaval. Cities across the country used the money it provided to launch “urban renewal” projects that often only added misery to the communities they professed to be helping. In San Francisco, a largely Black neighborhood in Western Addition was targeted on the premise that the vibrant ‘Harlem of the West’ was blighted. This misconception has gone unchallenged until now, thanks to the photographic documentation Ernest Burden III exposed in his late father’s immense photograph archive.

April 1, 2024April 1, 2024

Among Friends

In Conversation

In the summer of 2017, Beth Dary and Patricia Fabricant visited the Museum of Modern Art to see the Robert Rauschenberg show Among Friends. As they were looking at the exhibition, they separated and later found each other at the installation of Hiccups, which consisted of ninety-seven sheets of handmade paper with original Xerox transfer collages zipped together. “At that moment, we both had the same thought—we could hand out zipper papers to our friends to create a great collaborative show,” they recall. Patty had been simultaneously talking with Alexandra Rutsch Brock, who was similarly inspired by Hiccups and had even gone so far as purchasing some zippers. They reached out to their friend groups, and it took off from there. “We had no idea how it would turn out, but we knew it would be a fun adventure,” the co-curators say. Since this art project initiative started during the Trump administration, when women’s rights were under attack. it was important for them to include a charitable component such as Planned Parenthood.

March 20, 2024March 18, 2024

Aliens R Us: Dasha Bazanova at Space 776

In Dialogue

*installation view at Space 776 Gallery, photo courtesy of the artist*

In her first solo show at Space 776, Dasha Bazanova’s oil paintings and ceramic sculptures engage with the theme of “alien” from various angles: the cultural alienation intrinsic to her Russian roots and her identity as an “alien” in the United States. She draws upon the 1970s, a period rich with alien conspiracy theories tying these themes to our present. The exhibition includes ceramic sculptures of Russian grandmothers, standing as symbols of endurance amid the aftermath of calamities and prompting contemplation on the legacy of alienation across generations. Bazanova elaborates here on the body of work in her show.