Ed Ruscha is featured in the Wall Street Journal’s recurring “My Favorite Things” feature, showcasing some of his most treasured artworks and possessions, among them a map of land owned by Gordon Matta-Clark in New York City, the head of a toy baseball player he was given by KAWS, and even a piece of cast-off plumbing pipe. “I like the feel of corroded copper,” Ruscha says. (more…)
Dustin Yellin is profiled in the New York Times this week, focusing on the artist’s close ties among the expansive New York arts scene, and his work founding the Pioneer Works exhibition space in Red Hook. “Dustin does amazing things for the community,” says Red Hook resident and friend Billy Durney. “The amount of charity he does would set a record.” (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…)
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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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…)
The Wall Street Journal has published a feature article on artist George Condo’s collection of rare and custom stringed instruments, which the artist has ordered to his own specifications. The artist, who studied music theory at the University of Massachusetts, is an avid musician and collector. “I don’t want to simply collect instruments and not know how to play them,” Condo says. “It’s a great way to take my mind off the here and now—all the aspects of what goes on in the art world.” (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…)
Filmmaker and Video Artist Steve McQueen is profiled in The Guardian this week, talking about his inspirations, his childhood dyslexia, and his personal reflections on the history of slavery. “All I remember feeling was a real sense of shame and embarrassment about it,” he says. “We can deal with the second world war and the Holocaust and so forth and what not, but this side of history, maybe because it was so hideous, people just do not want to see. People do not want to engage.” (more…)
The New York Times has published a profile on Salon 94 owner Jeanne Greenberg Rohatyn, and her quiet influence on the contemporary art landscape in New York. “The interesting thing about Jeanne is how involved she is in the ‘becoming’ of an artist’s creations,” says artist Terry Adkins. (more…)
Isa Genzken spoke with the New York Times recently, discussing her current retrospective at MoMA, her long career, and the public reception of her art. “I think my work is very difficult to understand. Sometimes people do and sometimes they don’t. I can’t do much about that.” (more…)
The 27 year-old, Columbian-born Oscar Murillo is the focus of a spotlight in Bloomberg, detailing his recent addition to the David Zwirner roster, and the quickly rising prices for his works. “He’s had the quickest upward trajectory for his age of any artist I’ve seen in 25 years,” said dealer and writer Kenny Schachter. “There’s a lot of money to be made trading Oscar Murillo at this point.” (more…)
Painter Peter Doig is profiled in the New York Times, in advance of his retrospective exhibition at the Scottish National Galleries in Edinburgh. Speaking from a rented studio in Manhattan, the artist discusses his new paintings, his studio and home in Trinidad, and the start-stop nature of his creative process. “Sometimes you get so frustrated, you end up washing off or scraping off what you spent hours or days applying,” he said. “By going backward, you see something you could have never achieved by going forward.” (more…)
Berggruen Museum head Olivier Berggruen is featured in the Wall Street Journal this week, after the reopening of his institution after a two year renovation. Focusing on both 20th century masters like Picasso, Matisse, Paul Cézanne and Paul Klee, the museum also focuses on evolution of the art market itself, and consists of 165 works sold by Olivier’s father Heinz to the city of Berlin in 2000 for around $100 million. “He thought of paintings and works of art as illustrations for stories,” says Olivier of his father. (more…)
The New York Times has published a spotlight on artist Robert Therrien, done in conjunction with his ongoing retrospective at the Albright-Knox Museum in Buffalo, NY. The artist has moved somewhat below the currents of the contemporary market, despite a broad body of work in sculpture and photography that has won him a considerable following and representation by Gagosian Gallery. He’s a very unusual person, and he’s a sweetie, too,” said Lynn Zelevansky of the Carnegie Museum of Art in Pittsburgh. “It’s just so harmonious and so beautiful. It’s about experience, and this amazing capacity for invention.”
Artist Ed Ruscha is profiled in the most recent issue of the New Yorker, discussing his life in Los Angeles, his practice, and the inspiration for some of his most iconic works, including his famous painting Oof. “It had one foot in the world of cartooning,” he says. “You get punched in the stomach, and that’s ‘Oof.’ It was so obvious, and so much a part of my growing up in the U.S.A. I felt like it was almost a patriotic word.” (more…)
In the run-up to this year’s Venice Biennale, curator Massimiliano Gioni spoke with the New York Times, discussing the event, his approach to curating, and his perspective on the event’s long history. “Klimt showed there in 1905,” he says. “That is mind-blowing to me. Since then there has been Morandi and Picasso, Rauschenberg, Johns and so on. Maybe I’m romanticizing, but the past is still very present.” (more…)
In anticipation of his new shows at Matthew Marks, Mnuchin Gallery and the Museum of Modern Art, artist Ellsworth Kelly is profiled in the Wall Street Journal, covering his work, his life, and his creative process at 90 years old. “I think one of the things that is great about being 90, he only feels his body. His sense of wonder, wanting to create more are still there.” Says his partner, Jack Shear. (more…)
The Financial Times has published a profile on gallerist Daniella Luxembourg of Luxembourg and Dayan, highlighting her early life in Israel, and her new approaches to exhibition outside of her two successful gallery spaces in New York and London. Luxembourg’s pop-up gallery, titled Oko, has been gaining attention lately, with a recent show of work by Julian Schnabel, and an upcoming show of work by Dan Colen this week. “It’s a different intellectual dialogue, another way of engaging people,” Luxembourg said. “When I was working in the auction business, so much money was spent on dinners, marketing, publicity and entertaining … this is another way of working.” (more…)
Artist Ed Ruscha is on this Times’s list of the world’s 100 most influential people this year, recognizing the artist’s highly influential conceptual practice and ongoing contributions to contemporary American art. “Even if Ruscha never met a word he couldn’t unsettle, let’s hang on to the one we need sometimes to describe him: genius.” Writes Time art critic Richard Lacayo. (more…)
GQ is currently featuring an interview with painter Kehinde Wiley, profiling the artist on a recent trip to Morocco for his ongoing portraiture series. Charting the artist’s early life in South Central Los Angeles through his ascension in the art world, the piece offers a studied history of both Wiley’s life and output, including his famous portrait of Michael Jackson. Initially, “I ignored him, because quite honestly I thought it was a prank,” Wiley says. “Surprisingly, he was really knowledgeable about art and art history.” (more…)
