Interviews

Odd Jobs: Neha Choksi

Neha Choksi. The Sun’s Rehearsal, 2016; performance still and installation view (2016) at Carriageworks for the 20th Biennale of Sydney. Courtesy of the artist and Project 88, Mumbai. Photo: Neha Choksi.

Welcome back to Odd Jobs, an exploration of artists’ varied and untraditional career arcs. For this edition, I spoke with Neha Choksi in the Otis College of Art and Design cafeteria. Choksi was born in 1973 in Belleville, New Jersey, raised in Bombay, and currently lives and works in Los Angeles and Bombay. She employs sculpture, video, photography, sound, painting, and performance in her work,[…..]

From the Archives – Interview with Shanti Grumbine

Shanti Grumbine. Persephone, April 2, 2013, A1, 2015; basswood dowels, anodized die, pigment print, mirrors, wood panel, 22 x 29 in.

In a world of propaganda and fake news, sorting fact from fiction can be a complicated task. Today we revisit Ashley Stull Meyers’ interview with artist Shanti Grumbine, who deconstructs newspapers as a way of investigating the power dynamics of communication. “The goal of journalism is to discover and present an objective truth—which is an impossible task.” This article was originally published on March 9, 2015. Art[…..]

Odd Jobs: Lenka Clayton

Lenka Clayton. Sculpture For The Blind, By The Blind, 2017; plaster, linen, wood, Braille sign, mounted digital photograph, portfolio of photographs. Courtesy of the artist. Photos: Carlos Avendano

Welcome back to Odd Jobs, where I interview artists about their varied and non-traditional career arcs. For this installment I spoke with Lenka Clayton, whose works include hand-numbering 7,000 stones, searching for all 613 people mentioned in a single edition of a German newspaper, and reconstituting a lost museum from a sketch on the back of an envelope. Her practice exaggerates and alters the accepted rules of[…..]

Talking About 100 Days Action, Part 2

Ricki Dwyer. Shred and Re-weave the American Flag, 2017; participatory action, performed on January 27, 2017, at Open Windows Cooperative in San Francisco, as part of 100 Days Action. Courtesy of the Artist.

April 30 is the last of Donald Trump’s first 100 days in office. To mark that inauspicious event, I spoke with Kenneth Lo, artist and social media manager for 100 Days Action, and artist Ricki Dwyer, who contributed the intervention Shred and Re-weave the American Flag. Our discussion ranged from how resistance efforts have changed since the inauguration, to the role artist–activists play in those efforts[…..]

Talking About 100 Days Action, Part 1

Jenifer K Wofford. No Scrubs, 2017; participatory action, performed on January 21, 2017, at the Women's Marches in San Francisco and Oakland, as part of 100 Days Action. Courtesy of 100.

On November 8, 2016, Donald J. Trump reached the nation’s highest political office after a long and brutal election cycle. In response, artists throughout the United States mobilized to resist regressive policy changes that would set progressive efforts back by at least fifty years. Writer and activist Ingrid Rojas Contreras collaborated with numerous Bay Area artists to form 100 Days Action, a creative affiliation described as[…..]

Interview with Hank Willis Thomas

Hank Willis Thomas. Question Bridge, 2013 at the Missouri History Museum.

Hank Willis Thomas has long illuminated the histories of racialized labor, Black cultural economies, politically crafted imagery, and their cumulative roads to revolution. His keen examinations of political gesture are steadily outgrowing their categorization as visual art and becoming increasingly discursive projects rooted in actualization. On the heels of his recent exhibition at Savannah College of Art and Design, Willis Thomas offers new avenues for[…..]

Odd Jobs: Amir H. Fallah

Amir H. Fallah. Moment of reflection. 2016; acrylic and collage on paper mounted to canvas; 48"x48". Courtesy of the artist and Shulamit Nazarian Los Angeles.

Welcome to Odd Jobs, where I interview artists about their varied and untraditional career arcs. For this installment I spoke on the telephone with Amir H. Fallah, whose work examines the conceits of portraiture, making its tropes the objects of manipulation and obfuscation. Born in Tehran, Iran, in 1979, he received his BFA from the Maryland Institute College of Art and his MFA in painting[…..]