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When recently we interviewed Philippe de Montebello, it happened that Sir Norman was in town, and so he participated in that discussion. He had much to say which was of great interest and so we thought it natural to continue the discussion with an interview devoted entirely to him.
Alanna Heiss is hailed as a founder of what we know as the alternative space movement, and one of the most important centers for contemporary art in the country.
When we began this ongoing sequence of interviews with museum directors, we knew that we wanted to talk with Glenn Lowry. To be a director of any museum is a complex, highly conflicted job. To be director of MoMA involves special pressures, which seem unique to the flagship American museum dedicated to collecting and reflecting on modern and contemporary art.
In an essay for the Tate’s retrospective exhibition of Georgia O’Keeffe this past summer (2016), Griselda Pollock writes that as a young art historian in the 1970s, she initially could not “see” O’Keeffe’s work.
In 2020, people started sending the sculptor Patricia Miranda lace. She has worked with found and vintage fabrics for years, dyeing them with hand-made cochineal and oak-gall inks, stitching them with images or together.
Considering that as President, Bush orchestrated the circumstances for these paintings, I wanted to know whether and how he accounts for the politics of his aesthetics. As a civilian, I was literally a piece of his constitutive power as Head of State; and the prescribed outlet for my rage at his misrepresentations and their consequences was essentially voting. Now, to our mutual surprise, we share a vocation, which means that I can evaluate him as a peer.
Writing about art is not like making art. Jack Whitten said that a painters sensibility is the ability to feel, entwined with plasticity, two sides of the same coin. Writing about art is like talking about feelings. It validates interior experiences by externalizing them, helping us understand what is acting upon us and what this means.