From the category archives:

Interview

A Talk With The Kitchen’s Executive Director Tim Griffin

by Paddy Johnson on June 27, 2012
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The Kitchen has had a good couple of months program-wise. We raved about Virginia Overton’s site specific sculptures. We should have raved about their group show Creative Destruction, because it was one of the best shows of the year so far. Everyone raved over Matt Wolf’s screening of I Remember, A Film About Joe Brainard. We like what we’ve seen.

Accordingly, we tracked down The Kitchen’s Executive Director Tim Griffin and asked him a few questions.

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Interview: Dara Birnbaum on MoMA, EAI, and Wonder Woman

by Corinna Kirsch on June 26, 2012
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Video artists are a troubled breed; nobody knows how to sell or collect their work. But heck, even MoMA has a ton of video in their collection, so maybe there’s a model out there that works. I sat down with Dara Birnbaum, the rare video artist who has both a gallery (Marian Goodman Gallery) and a distributor (Electronic Arts Intermix). That double life hasn’t deterred museums and collectors from taking an interest in her work. But, as I gleaned from a lengthy interview with Birnbaum, institutions don’t have a clue about fair compensation—not when MoMA only needs to pay $1,200 for one of her videos.

What follows are parts taken from a longer interview with Birnbaum. She’s grand in her ambitions, which include a steadfast commitment to unlimited editions, sticking with EAI, and stealing images. Oh, and we talk about Hennessy Youngman.

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Curation and Conservation: An Interview With Rhizome’s Ben Fino-Radin

by Paddy Johnson on June 22, 2012
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If a curator’s job is to conserve and care for what exactly are we doing with all those tumblrs? I’m not entirely sure, but since Rhizome’s Digital Conservator Ben Fino-Radin seems to do what the classic definition of curator does I figured I’d talk to him about it. It’s good preparation for the panel I’ll be on this weekend at the Woodstock Digital Festival titled, Making Art vs. Curating Art: The Peculiar Case of New Media but also this year’s Art & Reality Conference in Moscow, where I’ll be leading the online curating section of the conference. Needless to say, this will be the first of many interviews this summer, in which I talk to New Media art experts and layman alike about what curation means to them.

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At Exit Art, a Fond Farewell

by Corinna Kirsch on April 20, 2012
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“This is my funeral,” Papo Colo, co-founder of Exit Art told me yesterday in the Exit Art cafe. Colo wasn't joking. He was lamenting the impending closure of the non-profit, which, after 30 years of operation, will shut its doors in May.

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Gerald Ferguson’s Blue Collar Conceptualism: An Interview with Luke Murphy and Phil Grauer

by Paddy Johnson on February 9, 2012
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Paddy Johnson talks to Phil Grauer and Luke Murphy about Garry Kennedy, Gerald Ferguson, and the importance of NSCAD to the rise of American Conceptualism.

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Twitter Debate About ArtPrize, Now a YouTube Series

by Paddy Johnson on January 30, 2012
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Back in early January, Carolina Miranda, John Powers and I had a twitter debate over the merits of ArtPrize, the self-proclaimed grand experiment in Grand Rapids, MI, which awards hundreds of thousands of dollars, based mostly on popular vote. Carolina was suspicious, John thought ArtPrize could do artists better, and I decided the event was great. Hoping to hash this issues out a little a more in person, John Powers and I spent close to two hours with ArtPrize’s Kevin Buist, discussing its various merits and detractors. The result: 18 sequential YouTube videos documenting our conversation, idea by idea.

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Concerns from The Second Economy: Daria Dorosh on the Baby Boomer’s Relationship to Technology and Art

by Paddy Johnson on November 14, 2011
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Perhaps due to my parents nearing retirement age, I’ve recently started wondering how the concerns of artists of that generation might differ from my own. How will artists care for their work as they age? Are their assets significantly different from younger generations? Can a strong knowledge of digital technology be helpful? I got in touch with seasoned activist and A.I.R. co-founder Daria Dorosh to discuss a few these concerns. We talk about her history at A.I.R., digital technology, and means of preserving art that does not make its way into a museum or a collector’s home.

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Derivatives: An Interview with William Powhida

by Will Brand on November 8, 2011
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William Powhida is mean. His acerbic drawings and calculated rant-pieces have built him a reputation in New York’s art world as something between a complicit skeptic and a doomsday preacher, decrying the ills of contemporary art even as he steadily climbs its ladder. Last month, he opened a show at Postmasters Gallery – up until November 26th – that turned that same eye onto high finance, politics, and the general state of everything. I visited him in his studio to find out more.

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Creature: An Interview With Haim Steinbach

by Paddy Johnson on November 3, 2011
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What do you say to a guy who’s most frequently described as the artist who “radically redefined the status of the object in art”? I don’t usually get nervous about biography points like this, but I made an exception for Haim Steinbach. Unlike a lot of art, there’s no answer key to his angular shelves and arrangement of objects – and that can make a viewer nervous. Certainly, it affected me; it took two anxiety-filled weeks just produce a 700-word review on his show at Tanya Bonakdar Gallery last month, and I still worry about whether I got it right.

Steinbach himself, though, isn’t quite so intimidating. Now 67, the New York-based artist seems just as interested in the door hinge next to him as he might be about any given conversation. He’s obsessed with objects in the world around him. Recently, we talked about how that intense focus informs his work and thinking.

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An Interview with David Shrigley: What The Hell Are You Doing?

by Reid Singer on October 21, 2011
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You’re probably a fan of David Shrigley and you don’t even know it. Acting in the fields of graphic art, studio art, books, music and animation, Shrigley has earned renown for making high-brow works on paper with a disturbing, punkish bite since the early 1990s. Though trained formally at the Glasgow School of Art, his drawings maintain an unskilled look, belied only by their being witty as hell. In late September, I met with Shrigley to talk about his career and the compilation What The Hell Are You Doing?: The Essential David Shrigley, which was published earlier this year and is now available in the US.

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