Art
TRACEY EMIN Love Is What You Want
By Vincent KatzThe first piece I saw of Tracey Emin’s was “Everyone I Have Ever Slept With 1963-1995”, a tent with names appliquéd inside. I remember noticing the dates and figuring there was something more to this than shagging, though shagging and being shagged was the primary tone.
In Conversation
MATTHEW DAY JACKSON with Charles Schultz
After returning from London where he opened his first solo show, Everything Leads to Another, at Hauser and Wirth (May 20 – July 30), Matthew Day Jackson came by the Rail’s headquarters to talk about his work, creative process, and drag racing plans with Artseen contributor Charles Schultz.
In Conversation
RICHARD SERRA with Phong Bui
Richard Serra Drawing: A Retrospective is the first retrospective of Richard Serra’s drawings. On the occasion of the retrospective, Richard Serra welcomed Rail publisher Phong Bui to his TriBeCa loft to discuss his work and more.
In Conversation
DOROTHEA ROCKBURNE with David Levi Strauss and Christopher Bamford
Shortly after attending the opening of Dorothea Rockburne: In My Mind’s Eye at the Parrish Art Museum in Southampton (June 19 – August 14, 2011), Rail Consulting Editor David Levi Strauss and Christopher Bamford went to Dorothea Rockburne’s studio in SoHo to discuss the show.
In Conversation
JENNIFER BARTLETT with Phong Bui
On the two occasions of her second installation of the monumental work “Rhapsody” in the Atrium of MoMA and the recent exhibit The Studio Inside Out (May 18 – June 30, 2011) at Locks Gallery in Philadelphia, Rail publisher Phong Bui paid a visit to the painter Jennifer Bartlett’s home/studio in Fort Greene, Brooklyn to discuss her life and work.
WOLF KAHN In Latter-Day Focus
Color & Consequence
By Lucio Pozzi
Several years ago, the late art historian Robert Rosenblum paid a visit to Wolf Kahn’s studio and, after a lengthy and attentive stay, turned to him and said: “There is nothing here that Monet hasn’t done already.”
In Memoriam CY TWOMBLY (1928–2011)
By Claire Daigle
After a long stretch of years, I found myself drawn to re-visit the Cy Twombly Gallery in Houston this past spring. It felt like a homecoming. I stood in the room containing the polyptych in five parts, “Analysis of the Rose as Sentimental Despair” (1985), for hours, observing the subtle shifts of light and shadow with tears streaming down my cheeks.
Readings From the Vast Unread
By Phong Bui and Robert Hullot-KentorReadings from the Vast Unread may not be such a bright idea, but it is historically unprecedented.
