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Art In Conversation

SAM GILLIAM with Tom McGlynn

At its very core, the intrinsic value of art—which can be disruptive, unpredictable, and at the very least challenging—has tremendous transformative and healing incentives. Whether it occurs at the first encounter or over time, the implications for the viewer, be they formal or emotional, are simultaneously simple and complex, generous and demanding.

Art In Conversation

ALIZA NISENBAUM with Yasi Alipour

What I’m most engaged with is the process of my work; meeting new people, seeing if we can be open to each other, losing control then regaining control, and making an image somehow from the different situations I’m placed in.

Art In Conversation

LARI PITTMAN with Terry R. Myers

I became a painter at Cal Arts in the 1970s when there was a way of approaching the making of art just generally. One of the things that still bothers me about painting are the way that painters talk about their work or the way painting is viewed. Of all the practices, painting is the one where the viewer—both the educated and the popular viewer—essentializes or over-essentializes the relationship between the object and the person who made the object. And that, I think, is problematic.

Art In Conversation

TOMAS VU with Phong Bui

I tend to substitute nostalgia with fantasy, and vice versa. It’s the same word to me sometimes. Not having a strict distinction or a boundary has allowed me to have the freedom to move in and out of spaces. Time works in the same way, in my case. For me it’s always about finding out what was in that particular landscape and what’s happening at that moment in time, as a starting point, from which I can move forward. That’s how all of my projects begin, actually.

From the Publisher & Artistic Director

Dear Friends and Readers,

Most of us, at one point or another in time, think of our own choices as how they define our lives. Choice is often tied to how we’re taught to reflect and how we choose according to that basis—how we may decide to do one thing rather than another—counts as our choice.

Editor's Message Guest Critic

No One Gets to be Right

The focus of this Guest Critic section is something I’ve been wanting to do for some time. To ask several writers whose work I respect (often by disagreeing with it, and I hope that favor has been returned) to respond to a simple prompt: “I was wrong.”

Critics Page


Table of Contents

Editor's Message

Publisher's Message




Critics Page








Art Books


Field Notes


The Brooklyn Rail

SEPT 2019

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