The Brooklyn Rail
Critical Perspectives on Art, Politics and Culture
Dec 2006/Jan 2007
Art
John Elderfield with Phong Bui
by Phong Bui and John ElderfieldArt
On the occasion of the exhibit Manet and the Execution of Maximilian at The Museum of Modern Art, which will be on view until January 29, 2007, John Elderfield, the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, took time from his busy schedule on a recent afternoon to welcome Rail Publisher Phong Bui to his office to talk about Manet’s four featured paintings, related works and more.
Kiki Smith with Phong Bui and Susan Harris
by Phong Bui and Susan HarrisArt
On the occasion of the traveling retrospective Kiki Smith: A Gathering, 1980–2005, the artist’s first full-scale survey (on view until February 11, 2007), Kiki Smith welcomed Rail publisher Phong Bui and independent curator/writer Susan Harris to her home and studio to discuss her life and work.
The Bias of the World: Curating After Szeemann & Hopps
by David Levi StraussArt
Under the Roman Empire the title of curator (“caretaker”) was given to officials in charge of various departments of public works: sanitation, transportation, policing. The curatores annonae were in charge of the public supplies of oil and corn. The curatores regionum were responsible for maintaining order in the fourteen regions of Rome.
Railing Opinion: A Call to Art Critics
by Irving SandlerArt
Is there justification in the widespread feeling among us that art criticism is irrelevant, eclipsed by the activities of dealers, collectors, and curators, and consequently that there is a crisis in art criticism?
Yun-Fei Ji with John Yau
by John Yau and Yun-Fei JiArt
During his brief visit to New York for his first one-person exhibit at James Cohan Gallery, “Water that Floats the Boat Can Also Sink It: New Work by Yun- Fei Ji”, which will be on view till December 22, the artist came to visit Rail’s art editor John Yau to talk about his new body of work.
Tavares Strachan: Hermetically Sealed
by Maxwell HellerArt
Strachan eschews the coldness adopted by other conceptual artists, instead creating installations that speak not only to our intellectual interests, but to our emotional concerns, our feelings of loneliness, desire, and loss.
