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In Conversation

WAYNE KOESTENBAUM with Phillip Griffith

On September 21st at The Kitchen, Wayne Koestenbaum performed a suite of trance-like Sprechstimme improvisations at the piano to mark the publication of his new book, The Pink Trance Notebooks, a series of poems assembled from a yearlong experiment in journaling (Nightboat, 2015).

In Conversation

SARA REISMAN with Kara Rooney

Sara Reisman is an accomplished independent curator and former Director for the New York City Department of Cultural Affairs’ Percent for Art program, the city’s only legally mandated art-commissioning program fully funded by city capital projects.

In Conversation


Approximately a year before Rosemarie Castoro’s untimely death from complications of cancer, Alex Bacon visited her in her Soho loft and studio, where she had lived and worked since 1965. They spoke about a wide variety of issues relating to her early work from the 1960s, which ranged from dance to minimal painting to performance art.

In Conversation

ALFRED LESLIE with Phong Bui

Even though I’ve followed Alfred Leslie’s work since I was in college, and although we have many friends in common, until recently I had never met the artist. Having seen both exhibits, Alfred Leslie: The Grisaille Paintings 1962–1967 at Oil & Steel Gallery in 1991, and Alfred Leslie 1951–1962: Expressing The Zeitgeist in 2004, my perception of his complex and ambitious oeuvre has deepened in the last few years.

In Conversation

COCO FUSCO with Laila Pedro

Cuban-American artist and scholar Coco Fusco has explored the dynamics of art, bodies, and culture for more than thirty years. She has performed displayed in a cage as an invented primitive character (The Year of the White Bear and Two Undiscovered Amerindians Visit the West (1992 – 1994)) and as Dr. Zira, Planet of the Apes’s“ animal psychologist” (Observations of Predation in Humans: A Lecture by Dr. Zira, Animal Psychologist (2013)), and undertook training in military interrogation techniques to create A Room of One’s Own: Women and Power in the New America (2006).


Phong, you asked me to ruminate on Kippy’s “aspirations,” how the Acadia Summer Arts Program (ASAP) evolved into the seasonal intellectual hub that it became. Kippy never had a mission statement, but she did have a plan, one that grew amorphously over nearly three decades and drew on a loose-knit group of artists, curators and writers whom she brought to Mount Desert Island from June through Labor Day weekend.

Letter to Kippy

When I first met you, twenty years ago, it was this time of year. The season was turning; ducks were beginning to migrate from the coast of Maine to wherever they go in the winter. When I entered your workshop, you were clipping the wings of a few wild ducks that you wanted to keep on your pond by Deer Acres so that they would be there in Spring.

Malthus Und Der Maler

Artists need some idea of what members of their public bring to the encounter with their work. A conventional “canon” of “stuff most educated people have probably encountered most of,” is essential for art to work, because figures and grounds are complements.

In Conversation

RAINER GANAHL with Sara Roffino

For twenty years, Rainer Ganahl has captured images of speakers and their publics during seminars and lectures for his ongoing series “Seminars/Lectures” (S/L). Other presentations of the S/L series include the Venice Biennale (2007), Wallach Gallery at Columbia University (2005), the Generali Foundation (1997), and at Max Protetch Gallery (1999). Sara Roffino caught up with Ganahl several times throughout the run of his current exhibition, Artists: Recent photographs from my S/L series, on view at Kai Matsumiya through October 25.


The Brooklyn Rail

OCT 2015

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