Lives of the most Excellent Artists, Architects, Curators, Critics, Theorists and more, like Vasari's book updated. (Interviews with over 1,200 artists, curators, poets, writers, critics and others about studio practice from Yale University radio WYBCX)
Robin Pogrebin is a reporter on the Culture Desk of The New York Times, where she covers cultural institutions, the art world, architecture and other topics.
She is also the author, with Kate Kelly of the book, “The Education of Brett Kavanaugh: An Investigation,” published in September 2019. At the Times, she has also covered the media industry for the Business Desk and city news for the Metro Desk. Prior to joining the Times in 1995, she was an associate producer for Peter Jennings’ documentary unit at ABC News and, before that, a staff reporter at The New York Observer.
Her freelance work has been featured in magazines like Vogue, Town & Country and Departures, along with several book anthologies. Pogrebin, who also teaches writing at the School of Visual Arts, is a frequent moderator, radio guest and speaker. She lives in New York City.
Self-Portrait in Blonde Wig, 2007
Jessamyn Lovell (b. 1977, Syracuse, NY) is a conceptual artist working with photography, video, performance, and surveillance contemplating class and personal identity. Lovell holds a BFA from Rochester Institute of Technology and an MFA from California College of the Arts.
She is based in Albuquerque, NM where she is currently a Senior Lecturer and Undergraduate Director of the Art Department at the University of New Mexico. Lovell is a founding member and activist leader in the United Academics of the University of New Mexico, the institution's new faculty union and a licensed and practicing private investigator.
Lovell has received international recognition for her artwork including Dear Erin Hart, for which she found, followed and photographed her identity thief. She received her private investigator’s license in 2017 for D.I.Y. P.I. (Do It Yourself Private Investigation), a long-term conceptual art piece.
Self Portrait Mirror, 2017 Self-portrait taken on surveillance, from Do It Yourself Private Investigation (2016-current), 50"x70” archival inkjet print
Self-portrait taken on surveillance, from No Trespassing, (2007-2009), 40x70” archival inkjet print
Matthew Langley received his BFA from Corcoran School of Art in Washington DC in 1985. Since then, Langley’s work has been shown extensively in the United States and Europe through numerous group and solo exhibitions.
Recent exhibitions include; Big Circle at M17 Contemporary Art Center, Kiev, In Color at Page Bond Gallery, Richmond, VA and The Unified Field at Blank Space, New York, NY.
Langley’s artworks have also been included in various public and corporate collections including; the International Museum of Collage, Assemblage, and Construction, The Doris Patz Collection at the University of Maryland University College (UMUC), DC Commission for the Arts and Humanities, Ernest and Young, PNC Bank, Saks Fifth Avenue, Norwegian Cruise Lines, MacAndrews & Forbes and the State Department of the United States.
He currently lives and works in New York.
Books mentioned in the interview were White by Kenya Hara. Hara has been the art director of Muji since 2001. Also mentioned were the books of John le Carré
Photo of studio with the large painting in process that is mentioned in the interview; Unfinished, 2020, 60 x 96 inches
Marine Drive, 2019, 38 x 31 inches, acrylic on paper
Zine by Matthew Langley and book by J Saltz
Sarah Lawson and Lee Norton
Sarah Lawson is a writer and editor based in Brooklyn. They are a member of the Ugly Duckling Presse editorial collective, and act as UDP's Publicity Director.
Lee Norton is a member of the Ugly Duckling Presse Editorial Collective, where he also serves as the Development Director. He teaches composition and literature at Queens College CUNY, usually with a focus on the history and rhetoric of the life sciences, theories of genre, 20th-century fiction, and contemporary poetry, in some combination. He earned a PhD in English and Comparative Literature at UNC-Chapel Hill; his critical work has appeared in Occasions; his poetry, in Ohio Edit, Drunken Boat, Supermachine, and several other magazines.
Ugly Duckling Presse is a nonprofit publisher for poetry, translation, experimental nonfiction, performance texts, and books by artists. Through the efforts of a volunteer editorial collective, UDP was transformed from a 1990s zine into a mission-driven small press that has published more than 300 titles to date, and produced countless prints and ephemera.
UDP favors emerging, international, and “forgotten” writers, and its books, chapbooks, artist’s books, broadsides, and periodicals often contain handmade elements, calling attention to the labor and history of bookmaking.
UDP is committed to keeping its publications in circulation with our online archive of out-of-print chapbooks and our digital proofs program. In all of its activities, UDP endeavors to create an experience of art free of expectation, coercion, and utility.
Here is a link to the pamphlet subscription mentioned in the interview and the regular subscription is here.
And here is some more writing on the reasoning / history that went into doing the pamphlet series, in the words of editor Daniel Owen.
Soviet Texts, the first representative selected volume of poetry by Dmitri Alexandrovich Prigov, a leading writer of the late Soviet and early post-Soviet era and one of the founders of Moscow Conceptualism.
The first batch of the 2020 Pamphlet Series, with work from Simon Cutts, Sergio Chejfec, Don Mee Choi, Steven Zultanski, and Aleksandr Skidan.
Bobbie Louise Hawkins' autobiographical novel One Small Saga; and Laura Riding's first book of poetry, The Close Chaplet.
Natalija Vujošević is an artist and curator based in Montenegro, Yugoslavia.
The focus of her research and practice is the presentation of archives through exhibition-making, seeking renewed modes of communication, engagement, and understanding through new interpretations and expanded forms. She has lead and curated this kind of work on a number of research projects and public presentations, such as:
Comrades / Women's Movement in Montenegro 1943 - 1953 / with Nataša Nelević
A research project and exhibition dedicated to the AFZ archive (the anti-fascist front of women in socialist Yugoslavia. Archive + contemporary art interventions and interviews.
"Why Have There Been No Great Men Artists?" Collections of the British Council in cooperation with the National Museum of Montenegro, (with a focus on women artists and their position in collections and in the art scene.
Missing Stories / Forced labor in Nazi Germany, organized by the Goethe Institute Belgrade / Salon of the Museum of Contemporary Art Belgrade).
She is the founder and director of the non-governmental organization, the Institute of Contemporary Art in Montenegro, which has been active since 2015, which is dedicated to contemporary art theory, education, research, and archives. The Institute established the first award for the young artists in Montenegro (in cooperation with Trust For Mutual Understanding New York). In the National Library of Montenegro, they are developing an alternative book collection that consists of art theory, philosophy, and humanistic science written in the last 3 decades (after Yugoslavia).
Her recent artist research is focused around Issues of life on the sidelines of global capitalism: the fatal transition of the Western Balkans and the neo-colonial politics and the occupation of natural resources on the Adriatic coast.
The book mentioned in the interview was; Breathing / Chaos and Poetry / Franco "Bifo" Berardi.
The study of Nature, Installation in public vitrine, 2020, mirror, textile, curtains, South south lets go south Biennale Serbia.
Body Installation, 2017, ceramic tiles, textile, wood. Nida Art Colony
Ellen Winkler is a print maker, painter and graphic designer who lives in the Washington D.C. metropolitan area. She studied art during her undergraduate years at Kalamazoo College in Kalamazoo, Michigan. That educational experience afforded her the opportunity to live and work in New York City as a participant in the Great Lakes Colleges Association "Semester in New York”. She worked as an apprentice to the artist, Willard Midgette.She came to the Washington area in 1977 to pursue a graduate degree at George Washington University, where she focused on Graphic Design. She was Art Director of The Chronicle of Higher Education’s Opinion and Arts weekly magazine, The Chronicle Review and is retired. She is a member of the Los Angeles Printmaking Society.Deeply influenced by the artist Jack Boul, she has spent much time exploring monotypes as a means of responding to the landscape. She has recently been working with drypoint, copper engraving and etching. Her etchings particularly reflect recent drawings which are explorations of seen and unseen places. Additionally, she has been rendering landscapes using oil paint on prepared board.
"Getting to There”; 2020; 6 5/8" x 7 1/2"; Oil on prepared board
“Tired Going Home”; 2020; 6" x 5; Drypoint and Engraving printed with Chine Collé