Something in the totality of Annabeth Rosen’s work does not lend itself to the question/answer format of the formal interview. Her conversational style, like her work, is rich and discursive, gaining in depth and resonance through additions and accumulations.
March/April 2019
Judy Chicago
“I was always interested in fringe techniques. I did formed domes, I did big fiberglass sculptures, I went to autobody school—new form allows for new content. But nobody paid attention to my interest in fringe techniques as long as they were masculine. It was only when I crossed the gender gap into what was forgotten that it became notable.”
Giants Walking: A Conversation with Huma Bhabha
Huma Bhabha does not work with images culled from the Internet; she eschews appropriation and explanatory texts. Perhaps because of her devotion to old-fashioned creativity, Bhabha is rapidly becoming one of the most celebrated contemporary artists.
David Wojnarowicz
NEW YORK Whitney Museum of American Art Assuming familiarity with Wojnarowicz’s oeuvre, his obsession with his dreams, and his deep involvement with AIDS activism, “History Keeps Me Awake at Night” prompts two related questions: First, how does someone dream when they cannot sleep? And second, what are dreams to a person who, like Wojnarowicz, a victim of AIDS, knowingly has no future?
Jim Sanborn
WASHINGTON, DC American University Museum at the Katzen Arts Center Best known for his challenging, coded bronze work in the courtyard of the CIA, Jim Sanborn still relishes secrets. His recent exhibition, “Without Provenance: The Making of Contemporary Antiquity,” presented a new puzzle: Why fill the museum’s third floor with an “auction preview” of stone works from “ancient Khmer?”
Heidi Bucher
LONDON Parasol unit foundation for contemporary art Is memory embedded in place? Can a room hold vestiges of trauma? Heidi Bucher’s eerily beautiful latex casts of doors, window casings, and rooms pose such questions.
FRONT International
CLEVELAND, OHIO Cleveland Triennial for Contemporary Art Native Clevelanders, like myself, are used to national derision, enduring myriad “mistake on the lake” jokes. So, it was clearly evident to us that FRONT founder Fred Bidwell and artistic director Michelle Grabner intended to turn those Rust Belt assumptions around.
Serious Frills: A Conversation with Phyllis Green
For the past 40 years, Phyllis Green has questioned the nature of objects and their social context, using a wide range of materials—video, fiberglass, steel, concrete polymer, wood, textiles, polyurethane foam—and fabrication techniques such as hand construction, sewing, and digital milling.
Cecilia Vicuña
BERKELEY AND BROOKLYN Berkeley Art Museum, Pacific Film Archives, and Brooklyn Museum The turbulent history of South America—from the advanced civilizations of the pre-colonial era up to the ravaged present—lies at the heart of Cecilia Vicuña’s work.
