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Amanda Gluibizzi talks with Ghada Amer about her new body of work on view at Marianne Boesky Gallery.
Jonathan T.D. Neil speaks with Tacita Dean about her new projects, Los Angeles as Purgatory, the future of film, and her favorite Leo Steinberg essay.
Maddie Klett speaks with Tomashi Jackson about her love of printmaking, her collaborative methodology as a social historian, and how cares her artwork into existence.
William Corwin speaks with Jorge Pardo about his new paintings, pin-hole cameras, and what goes into the production of an alter.
Thirty-one years after the publication of Una Stanza Per Panza, Judds efforts remain rare examples of the preservation of an artists vision. Still more rare are foundations established by artists which exhibit work by anyone other than their founder. There are considerably more museums founded by collectors, or which serve them. The reasons for this are as clear now as they were in 1990, and the threats to the integrity of art remain considerable.
In my four decades working in New York as an art historian, teacher and art dealer, I never imagined that racist politics and white supremacist viewpoints could contaminate my profession.