Interview: Lucy R. Lippard

Front cover of Lucy Lippard's, 'Six Years: The Dematerialzation of the Art Object from 1966 to 1972', originally published in 1973

Front cover of Lucy R. Lippard’s, ‘Six Years: The dematerialization of the art object from 1966 to 1972′, originally published in 1973

Lucy R. Lippard’s career trajectory has run from academically trained art historian, to critic, curator, and feminist activist. Eschewing definition, Lippard has described her methodology as “simply one thing leading to another.” Initially a critic, she rejected conventional art criticism on the basis of its “so-called objectivity” and lack of contact with artists and their practice. During the 1960s, she became a key figure and commentator on Minimal and Conceptual art. Her book Six Years: The Dematerialization of the Art Object (1973), was the subject of a survey exhibition at the Brooklyn Museum, entitled Materializing Six years: Lucy R. Lippard and the emergence of Conceptual Art. Her pioneering Numbers Shows (1969-1973) are understood to have complicated the definition of curating. “Radicalized” by a trip to Argentina in 1968, Lippard joined the Art Workers Coalition (AWC) in January 1969, campaigning for artists’ rights, against discrimination, and in opposition to the Vietnam War. She went on to co-found a number of organizations including the Ad Hoc Women Artists’ Committee (1970), the Feminist art journal Heresies (1977), Printed Matter (1976) and Artists Call Against U.S. Intervention In Central America (1984).  Continue reading

Interview: Darren Coffield

Darren Coffield, ‘Episodical (study)’, 2010, acrylic on canvas, 10″ x 11″

Darren Coffield (a.k.a Darcoff) studied at Goldsmiths College, Camberwell School of Art and the Slade School of Art in London. During the nineties, he worked alongside his friend, the curator Joshua Compston (d.1996) to establish the influential gallery space, Factual Nonsense, which was a key presence in what has been dubbed the ‘yBa’ scene. Compston exhibited Coffield’s work in The Courtauld Loan Collection (1991), alongside pieces by Damien Hirst, Gilbert & George and Fiona Rae. In 2010, Coffield participated in Exhibitionism, the ninth biannual East Wing exhibition, the series of shows established following The Courtauld Loan Collection. Coffield’s work is frequently selected for the National Gallery Portrait Award where his portraits have garnered considerable controversy. His work is characterized by a formalism akin to British Pop and a darkly humored investigation of political extremism.  Continue reading

Interview: The Guerrilla Girls

In 1984, the Museum of Modern Art in New York held an exhibition entitled An International Survey of Painting and Sculpture. Of the 169 artists involved, only 13 were women. Its curator, Kynaston McShine, told the press that any artist who wasn’t in the show should rethink “his” career. Enraged by this, a dedicated group of artists founded the Guerrilla Girls, whose mission ever since has been to expose racism and sexism in the art world through the use of activism, posters, publications and humour. Famed for their use of gorilla masks and pseudonyms after famous women artists, co-founder and press director, ‘Kathe Kollwitz’ kindly agreed to an interview.  Continue reading

Interview: Jerry Kearns

Jerry Kearns, ‘Pumped’, 2007, acrylic on canvas, 84″ x 84″, Private Collection

Jerry Kearns’ work examines the use of popular imagery whilst revealing how certain images articulate America’s use of hard and soft power.  Kearns has had a long standing relationship with the legendary Exit Art cultural center in New York. Some of his work can be seen in their final ever exhibition Every Exit is an Entrance: Thirty Years of Exit Art (till May 19th 2012). Kearns’ first book, Blue Eyed Devil, a work of autobiographical fiction, will be published to coincide with his forthcoming exhibition at the Modernism gallery in San Francisco next Spring.  Continue reading

Interview: Amanda Tiller

Amanda Tiller, ‘Fred Savage (Genogram Construction)’, hand embroidery, 30″ x 38″, 2011 (detail)

Amanda Tiller’s work addresses the pervasiveness of popular culture and our ability to retain facts and information. Whether she’s working on her Movie Poster series or Facebook Portraits, her work is always characterised by laborious and time-consuming working processes. With her Genogram series, Tiller takes a famous celebrity and weaves a web of connections between their real and fictional families. The faces of the figures are all stitched by hand. The interview was conducted at the artist’s studio in Chelsea, New York.  Continue reading