Art
In Conversation
DANNIELLE TEGEDER with Sarah Goffstein
Dannielle Tegeder is a painter whose work extends across media into conceptual artist books, sculpture, installation, animation, and sound. She emerged in 2002 with tightly composed diagrammatic abstract paintings that utilized a hermetic lexicon of iconography to evoke urban systems. Based in New York City, she now travels frequently, which has made geography of central importance.
In Conversation
ZANELE MUHOLI with Allie Biswas
Defining herself as a visual activist, South African artist Zanele Muholi uses photography to record lesbian and transgender lives in her country. Provoked by a lack of LGBTQ visual histories, Muholi took it upon herself to create an archive of images that documented her community.
In Conversation
SHAHZIA SIKANDER with Sara Christoph
Since moving to the U.S. from Pakistan in the mid-’90s, Shahzia Sikander has pushed through boundaries corroded by decades of multiculturalist rhetoric with an artistic practice that reimagines the connections between Eastern experiences and Western perspectives.
In Conversation
JOAN SEMMEL with Laila Pedro
Although she started out as an abstract painter, Joan Semmel’s career has come to be understood primarily in terms of the radical figurative paintings she has been creating since the 1970s.
CLOSEENCOUNTERS
LYNNE TILLMAN with Jarrett Earnest
Novelist and critic Lynne Tillman’s character Madame Realism first appeared in the pages of Art in America in the mid-’80s, reporting on a Renoir symposium. This month, Semiotext(e) brings together all of her misadventures in the volume The Complete Madame Realism and Other Stories. We met to talk about the intricacies of fiction in life, art, and criticism.
THE HELD ESSAYS ON VISUAL ART
CARROLL DUNHAM: Eyes Wide Shut
By Alexi Worth
“One more question,” announced the moderator, and a woman in the front row raised her hand. “What is it with all the female genitalia?” There was a ripple of nervous laughter from the crowd, who had come to hear Carroll Dunham being interviewed about his recent “Bathers” paintings.1 “Are you a pervert?” she continued, “Are you a feminist? What’s going on?” The laughter grew, acknowledging not only the glaring absurdity of the evening’s juxtaposition—two middle-aged guys talking while a procession of giant pink nipples and anuses and labia were projected above their heads—but also, an unexpected and curious detail: the questioner was Laurie Simmons.
