Tauba Auerbach is interviewed in the Evening Standard this week, following the opening of her first solo exhibition in London at the ICA.  “I don’t think beauty and complexity are at odds,” she says.  “I feel that I’m more compelled to spend time with objects that I find seductive. I want to examine them and understand them.” (more…)

Matthew Barney is in the Spring issue of BOMB Magazine, speaking with Director Gaspar Noé about the pair’s shared love of Kubrick, comparisons between past work and their latest projects, and their interests in realism versus spontaneity.   “The aspect of filmmaking that I’m most interested in has to do with creating a live condition,” Barney says, “where something is actually happening in real time, and then filming in response to that… It’s not a very economical way of making a film—to set those situations up and shoot them in real time and then edit it all down.” (more…)

Martin Creed is interviewed in The Guardian this week, giving a typically elusive, cheeky interview covering his greatest fears, his most embarrassing moment, and his thoughts on dinner parties: “I hate dinner parties,” he says. “I don’t even like dinners particularly. I hate eating because I am scared of most food a lot of the time. I am disgusted by meat and fish.” (more…)

Douglas Gordon is interviewed in The Guardian this week, as he prepares to exhibit his work at this year’s Sydney Biennial.  “The idea of art is to be as free as possible,” he says. “I am the least hippy person. I am an extremely hardcore dogmatic bastard, actually. But I retain the right to do whatever I want.” (more…)

The New Yorker reviews the career of Ryan Trecartin this month, taking a look back at the artist’s series of videos from the past ten years, and examining his depictions of youth culture, internet dialects and his “breaking news about the future.” (more…)

Photographer Collier Schorr is profiled in the New York Times this week, following the opening of her newest show at 303 earlier this month.  “I don’t know what to do until I meet them,” Schorr says of engaging with the models she shoots. “Who are you? I’m going to take that picture.” (more…)

The Wall Street Journal spotlights Jane McSweeney as its “Donor of the Day” in a recent article, tracing her positions on the MoMA film board, the Board of Directors for MoMA Ps1, and her work with the Art Production Fund.  “I literally breathe deeper when I’m around art,” said Ms. McSweeney. “It makes me feel that there are great possibilities on the earth.” (more…)

Chuck Close is in the Wall Street Journal this week, discussing his recently renovated apartment in the East Village.  Close bought the apartment in 2011, and has installed a number of works from his collection, as well as painting the walls a bright red, inspired by the Metropolitan Museum of Art.  “All artworks that interest me are constructed,” he says.  “They don’t have to be massive works. They just have to engage me.” (more…)

John Baldessari is featured in this month’s edition of “My Favorite Things” in the Wall Street Journal, in which he shows off some of his favorite art works, possessions and gifts from friends, including an enormous chili pod given to him from Tom Waits, a postcard drawing from Sol LeWitt, and another from the creator of Spongebob Squarepants. (more…)

Peter Doig sits down with the Financial Times this week for the newspaper’s Lunch with the FT segment, and discusses his life as a painter, as well as his childhood split between Trinidad, Canada and the UK.  “My thinking is always between places. Something I would like to achieve in my paintings is a place in between places.” (more…)

Dealer David Zwirner was on Charlie Rose this past week, discussing the current state of the art market, the “philosophy” behind the artists that he chooses to work with, and his taste in minimalism.  “Minimalism brought modernism to its natural conclusion,” he says. “The intellectual rigor of bringing a work to its logical consequence, and trying to find the pure, absolute form is very appealing to anyone in my position.” (more…)

Vanessa Branson, the founder of the Marrakech Biennale and sister to Richard Branson, is interviewed in Financial Times this week, previewing the fifth edition of the event, and its continued mission of “building bridges between cultures.”  “I want to stress how the arts send a really positive message to the rest of the world and are an economic driver – innovation creates great business,” Branson says. (more…)

Georg Baselitz is profiled in The Telegraph this week, as the artist prepares for three concurrent shows in London over the next few months.  Speaking the anniversary of the bombing of his hometown, Dresden, Baselitz reflects on how the violence of World War II found its way into his art: “the degree of destruction I’ve seen, which I’ve been surrounded by, is no longer comprehensible. It was so radical, so absolute. Today you’d ask: how could it even happen? But that was my time.” (more…)

Marianne Boesky is profiled in the WSJ this week, spotlighting her reputation for risk-taking, including showing a never-before-seen South African artist in her booth at the Armory Fair next month, Serge Alain Nitegeka, and her early gamble on Japanese art-star Takeshi Murakami. “I couldn’t even give his work away,” she says. “I could even go so far as to say I was mocked for showing it.”
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Larry Gagosian is featured in the Financial Times’ How to Spend It section this week, recounting his personal style inspirations, and his current reading list.  “I tend to mix it up, so I might read a biography and then follow it up with a page-turner,” he says. “I used to read Dostoyevsky and Tolstoy, but now I stick to contemporary fiction and books related to current events.”  (more…)

The New York Times profiles Anthony Elms this week, the co-curator of this year’s Whitney Biennial, set to open March 7th in New York, discussing the exhibition’s monumental reputation, and the almost equally considerable criticism it draws each outing.  “I know someone’s not going to like the show, so I might as well just go forward and try to do it the way that seems right,” Elms says.  “Anything I can do to put more artists in more people’s faces is something I’ll say yes to.” (more…)

Artist Eric Fischl is profiled in the Financial Times, and speaks about his current retrospective at the Albertina, his life and career, and the reception of his work by both collectors and museums.  “I very naively thought as a young artist that the work I was doing was not suited for individuals to live with because it had such harsh content, Fischl says, “but I thought museums would want it because it is about the truth of life. Turned out to be the opposite. Museums are afraid of sexual content.” (more…)

The New York Times Magazine publishes an interview with Matthew Barney, leading up to the premiere of the artist’s River of Fundament at BAM this week, discussing the artist’s inspiration, and his time with writer Norman Mailer, on whose death much of the film is based.  “When Mailer said to me that I should really read “Ancient Evenings,” I thought, Wow, this is so much like the beginning of “Cremaster 3.” I’ve already done this.” (more…)

Pioneering light artist Keith Sonnier is interviewed in a recent edition of the New York Times Magazine, discussing his show of early works at Pace gallery, and his years working in Los Angeles.  “Flavin called us Dada homosexuals,” Sonnier says. “We were all in the same shows, the only real difference is that they used hard materials and ours were soft.” (more…)

Olympia Scarry and Neville Wakefield, the artist and curator currently presenting the well-received Elevation 1049 show in Gstaad, Switzerland are featured in the Wall Street Journal, showcasing a few of their favorite objects and pieces of art, including an enormous hunk of gum Scarry made several years ago for a piece, and a concrete-filled whoopee cushion made by Dan Colen.  “It’s actually filled with concrete, so it’s a joke that never lands.” Wakefield says. (more…)

With artist Doug Aitken’s The Source series of creative dialogues has opened at Sundance Film Festival, he sat down with New York Times Magazine to discuss the work, his recent Station to Station project, and his ideas of creative immediacy.  “I see it as trying to reduce and reduce and reduce,” he says. “Bringing things back to a candid and immediate conversation between two people. Having something that has very little filtration, that is not reprocessed by a critic and is not repurposed through the filter of cultural history.” (more…)

The New York Times publishes a feature on LES Gallery owner Lisa Cooley, as she discusses her work in the New York Art World, the current show on Ileana Sonnabend at MoMA, and her the long history of prominent female art dealers.  “There have always been women dealers,” Cooley says. “It is a profession that has always attracted women. Women have relatively easy access to the field.” (more…)

New York Magazine has published an extensive profile of Jeffrey Deitch, marking the former MOCA head’s return to New York.  Speaking on his inspirations, sense of history, and views on creative collaboration, the piece offers a broad view into Deitch’s creative and entrepreneurial views .“I’m very aware of the connections between art, literature, and music. I look for aesthetic energy, aesthetic movements that are so big that they’re too big to just be an art alone, that they spill over,” he says. (more…)

Artist Doug Aitken has announced a new collaborative project, The Source, examining the genesis and proliferation of ideas among some of the world’s most recognizable artists, musicians and thinkers, to be exhibited as Sundance Film Festival.  Installed on the grounds of the film festival, the work will feature conversations with artists including Mike Kelley, Jack White, Jack Pierson, Jacques Herzog, James Turrell, Liz Glynn and many more.   (more…)