Interviews

Interviews

The Immoveable Feasts of French Modernism

by John Seed on September 2, 2014

Jean Hélion,

LOS ANGELES — In 1988 Jed Perl, a critic in his mid-thirties who had written for Vogue, Art in America, and The New Criterion, published his first book: Paris Without End: On French Art Since World War I.

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Jenny Dubnau

In Jenny Dubnau’s Long Island City studio is a vertical mirror with adhesive stenciled letters spelling out the name “Jennifer.”

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Vivian Maier,

Collector Jeffrey Goldstein agreed to speak with me about some of the concerns raised in my previous post — including the handling of Vivian Maier’s artworks and story, as well as the ethics of making posthumous prints from her original negatives.

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Catherine Murphy,

When I arrived at Catherine Murphy’s home in Poughkeepsie, New York, I was led down a long outdoor path to her studio. Murphy was working on a painting of a pie crust; she asked her assistant to put the dough on ice while she spoke with me.

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Marni Kotak, “All The Meds I Took” (2014)

CHICAGO — On February 13, I found myself in the back seat of a bus in Chicago with the artist Marni Kotak. We felt comfortable in the back of the bus. We are those kinds of women.

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Post image for Painting with 5,000 Facebook Friends in Your Studio

LOS ANGELES — Most artists like to think of their studios as private domains: as places where they can wrestle with the problems and possibilities of art making without anyone looking over their shoulder. Mark Dutcher, a Los Angeles painter, has spent the last five years gradually breaking down that privacy.

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Post image for Mark Dion’s Penchant for the Past

In Richard Brautigan’s 1968 novel In Watermelon Sugar, a girl named Margaret often wanders off to the Forgotten Works, a forbidden area piled with the detritus of past civilizations. Like Margaret, the artist Mark Dion is drawn to old things.

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Post image for Beer with a Painter: Graham Nickson

Graham Nickson and I met in his offices at the New York Studio School, where he has been Dean since 1988. There was a pointed severity to our meeting-place, which offered no distractions from the task at hand.

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Post image for Wafaa Bilal’s War of Images

Wafaa Bilal asks us to bear witness, examine, and understand recent history. He places himself in his art to raise awareness and alter our perceptions.

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Post image for The Multiple Standpoints of Hassan Khan

What may seem erratic, disparate, schizophrenic, and impatient might instead be read as a thoughtful, methodical, and relentless reconstruction of, as Hassan puts it, his process of defining the sum total of knowledge.

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