Issue

3.C / The Year in Conversation, 2011

December 22 2011

Introduction

December 22, 2011. As we round the corner on another year, it is nice to have the moment to pause and look back. Art Practical has experienced significant growth in 2011, and through the expansion of our travels, public programs, and content, we've amplified our core mission to generate dialogue. That dialogue has often proved to be most thought provoking and lively at its most intimate scale: the back and forth between two individuals. The interviews with artists, curators, and writers we've published, especially those in conjunction with our partner Bad at Sports, and by feature contributor Bruno Fazzolari, manage to capture the energy, curiosity, perplexity, self-depreciation, and even doubt that accompanies any creative process. But what is most evident in all of the conversations is the remarkable opportunity to hear about work we admire in the voices of those who produce it. In this issue, a selection of some of the outstanding interviews from 2011. Enjoy! - PM

Features

Interview with Carolee Schneemann

Interview with Carolee Schneemann

By Bad at Sports, Kara Q. Smith, Liz Glass

I’m always trying to stabilize the privilege and the fortune of my own situation to be among women like yourselves who can have self-determination about gender experience, and at the same time [think about] the violence against women and the issue of rape.

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Interview with Jim Campbell

Interview with Jim Campbell

By Bad at Sports

I came to the conclusion at SFMOMA that the content of the imagery completely doesn’t matter, which is a really strange thing to say about these kinds of works

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Interview with Pablo Helguera

Interview with Pablo Helguera

By Bad at Sports

So the solution is not simply to emphasize a craft of any kind, but in my view, to teach the ways in which a variety of crafts or disciplines function. An architect is not required to understand all the specifics of plumbing or be an expert in welding. There are many disciplines that don’t require you to completely master them in order to gain a certain kind of understanding of how they work.

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Interview with Aaron GM and Ginger Wolfe-Suarez

Interview with Aaron GM and Ginger Wolfe-Suarez

By Bad at Sports

But certainly there has been a logistical benefit to living in both places, and definitely having spaces that will work for you in both cities. It’s been really helpful to me. But it is also important to keep in mind that not everyone has the same career trajectory, and I’m always telling my students and trying to train them and show them that they can create their own independent projects.

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Conversation with Sally Elesby

Conversation with Sally Elesby

By Bruno Fazzolari

This landscape doesn’t seem “realistic” because the shapes are so abstracted and streamlined. Even so, the painting has a lot of space in it. The landscape seems “real” enough for viewers to imagine themselves inside it, while the painting itself expands to contain viewers in the act of viewing.

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Interview with Guillermo Gomez-Pena

Interview with Guillermo Gomez-Pena

By Tess Thackara

Performance artists may have all sorts of social shortcomings, and we may be terrible with administering our finances or sustaining a nine to five job, but when it comes to crossing borders, we make very good intercultural diplomats. I think that if governments were more enlightened, they would make good use of us.

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Interview with Nayland Blake

Interview with Nayland Blake

By Renny Pritikin

A big component of the work that I’m doing now comes from an assignment that I used to give my students: to make a piece for one person. These days I'm doing a lot of performance where the participants in the piece are the audience. It’s something that we’re doing together—a kinky, queer, sexual play—and I'm not interested in everybody having equal access to that. I think that you treat an experience differently when you have to win access to it.

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Conversation with Dean Smith

Conversation with Dean Smith

By Bruno Fazzolari

The word “abstract” is a very loose descriptor for Smith’s work, and the lack of a term to put a finer point on what type of abstraction it is only highlights the fact that the critical dialogue surrounding abstract and non-objective art has failed to keep pace with the ever diversifying complexity of the enterprises it considers.

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Interview with Shannon Jackson

Interview with Shannon Jackson

By Christina Linden

When Life is invoked in art practice, it is often equated pretty quickly with associations like “freedom,” “spontaneity,” and “disruption,” and I thought it was worth thinking about some other elements, especially the elements of the world that make Life possible.

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Interview with Glenn Adamson

Interview with Glenn Adamson

By Bean Gilsdorf

Adamson posed a question that was to become an encapsulation of his practice as a historian and curator: “When the climate is so militantly hostile to an intelligent handling of craft, how is a curator who is interested in craft to navigate the shoals?” His answer is disarmingly simple: “treat craft as a subject, not a category.”

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