I recently paid a visit to Bill Schuck’s studio, a crypt-like lair of curiosity tucked deep into the guts of uppermost Greenpoint. Schuck’s geologically informed, scientifically conceived, empirically iterative, and both temporally determined and grounded works involve meticulously calibrated machinery, gradual drips and capillary seepings of an array of inks, a range of mostly [READ ►]
Keith Schweitzer of ART(inter) in conversation with artist Rebecca Morgan. KS: I’d like to talk at length about your ceramic works. I’ve watched them develop over the years, and they’ve become increasingly interesting. But first let’s discuss your drawings, as they seem to be the very essence of all of your work. Would you [READ ►]
Elisa Jensen’s studio is in one of my favorite nether reaches of north Brooklyn, up where the grid of streets suturing outerlying threads of Greenpoint and Maspeth, Queens—and with a bit of extension, certain chunks of East Williamsburg—is still almost entirely industrial, and thus still heavily trafficked enough by hefty trucks snaking along to [READ ►]
Compositional counterbalancings and directional recalibrations have played significant transitional roles in the arc of Jeffrey Bishop’s career as an artist. I got a broad glimpse of all such consistency and flux when I visited him in his Fort Greene studio, where our conversation about his work led us also to converse about scientific minds, [READ ►]
Keith Schweitzer of ART(inter) in conversation with Brooklyn-based artist Frank Webster. KS: You’ve been very busy this year. I saw that you recently had a show in Austria. FW: Yes I had a show in Vienna this past spring with the Austrian painter Fabian Patzak at the Loft 8 Gallery in the newly renovated [READ ►]
Cathy Nan Quinlan’s current body of paintings—many of which will be shown at Outpost Gallery, in Bushwick, later this fall—are optically playful, chromatically ranging, formally harmonious and compositionally soaring odes to clouds, light, air, skies. They were a transportive treat to take in while she and I talked about hometown humidities, hurricanes, and debatable [READ ►]
One of the current artists in residence in John Silvis’s Williamsburg studio is Italian ‘interventionist’ Carlo Galli. I visited with him today, and we discussed the sociopolitical implications of ‘spiagge libere;’ the subconscious ‘delimitazioni’ of materials deployed to warn, prohibit or delimit; and the potential for surface features, especially those related to authority, to obscure unexpected [READ ►]
I had a great time with the ever-affable excavator of exit signs, Bob Seng, in his Williamsburg studio on a recent afternoon, at which time he showed me a couple walls brimming with more or less new pieces while we chatted about egresses, extremes, earthquakes and eventualities. We also talked about lettuce. And peaches. [READ ►]
Florals and reconfigurable puzzles proved to be excellent conduits for conversation and recompositional chromatics on a rainy day that might have otherwise been quite color-deficient when I visited Kay Sirikul Pattachote in her Greenpoint studio. There I saw loads of flowers in variable states of yet-colorful desiccation, which is the stage at which Kay prefers [READ ►]
Given Shawn Gallagher’s extensive holdings of supposedly obsolete apparatuses, and of course the many wonderfully imaginative images and sounds he produces using the same, his Bushwick studio is a world (or various worlds) unto itself (or themselves). His Castle Dracula project, for instance, on which he’s been working for quite a while, is a humorous, [READ ►]
