Flash Art International
Flash Art International No.253
Flash Art International # 253
Much of Flash Arts March/April issue focuses on women. Monica Bonvicini speaks with Massimiliano Gioni about architecture, literature and other points of references in her art. When asked What is your art for? she answers, Art, when it is good, is like a wake-up call to me, adding that she does not like pathos, didacticism, ornament and formalism, repetition, laziness in thinking.
The short time that Francesca Woodman spent making art, before she took her life in 1981, remains a fascinating and mysterious period of art and intimacy. Elizabeth Janus sheds light on her process, her intentions and her strong friendship with Sloan Rankin-Keck, a model and a partner in many of her works.
Going back to 1987, this issues Reprint features one of the most in-depth interviews with Sherrie Levine ever published, conducted by Flash Art contributor Paul Taylor.
In an interview with Sonia Campagnola, Eric Wesley zigzags among topics like his love-hate relationship with art collectors, his ideas about failure and success, and his feelings about dividing his time between LA and Berlin, because, as he says, 80% of my business is in Europe.
Speaking of business, Jerry Saltz weighs in on the art market.
Andreas Bellini interviews Jannis Kounellis, one of the founding pillars of Italian Art Povera, who recently opened a major solo show at New Yorks Cheim & Read gallery. Kounellis states, The intervention of the artist must be a statement in a social sense.
In the 2-part essay Sci-fi Historicism, Jan Tumlir excavates common traits among works by artists currently active in California. The March/April issue features Part 1 of this essay, titled The time machine in contemporary Los Angeles art. Here Tumlir examines works by Christopher Williams, Marie Jager, Adria Julia, Florian Maier-Aichen, Amir Zaki, Alex Slade and Mathias Poledna, among others.
Willoughby Sharp the renown publisher of the 70s New York cult magazine Avalanche discusses with Andrea Bellini his variegated career path as an artist, publisher, curator and art critic.
This issue also provides insight into the evanescent paintings of the young London-based artist Maaike Schoorel. Pablo Lafuente discusses the artists methods and motives.
Aperto takes a revealing looks at art practice in the countries Armenia and Azerbaijan.
This issue also includes an extensive review by Christopher Miles of High Times Hard Times, a traveling show about New York painting from 1967 to 1975.
Ouverture is dedicated to Matthieu Ronsse and Global Art considers Doug Aitkens large-scale installation Sleepwalkers at MoMA.
Group shows reviews include: Magritte and Contemporary Art at LAs MOCA; the 5th Asia-Pacific Triennial, Damien Hirsts collection, Busan Biennale 2006, Cluj Connection at Zurich Haunch of Venison, Dreamlands Burn at the Budapest Kunsthalle, Humanism in China at Stuttgart Staatgalerie and How to Build a Universe… at San Francisco CCA Wattis Institute.
Solo show reviews include: Terence Koh, Marilyn Minter, Adi Nes, Michael Fullerton, Dan Peterman, Giulio Paolini, Paul Pfeiffer, Song Dong/Yin Xiuzhen, Hélio Oiticica, Tino Sehgal, Dexter Dalwood, Victor Grippo, Rob Fischer, Andreas Slominski, Lisa Lapinski, Chris Evans, Fong-Leng/Isa Genzken/Keren Cytter, Dan Perjovschi, Jutta Koether, Shinro Ohtake and James Angus.
The COVER ARTISTS of this issue are: Francesca Woodman and Eric Wesley.
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