Chris Martino

Images

Arm's Length, 2013, Inkjet print, 30 x 20 in.

What a World, 2012, Oil on wood panel, 14 x 14 in.

Border, 2013, Inkjet print, 36 x 24 in.

lookchris.com

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Tom Thayer

Questions

1. How did you start doing animation work and what is your process for making your videos?
2. How do you move between mediums in your studio practice? How does this affect the presentation of your work in a heterogenous way?
3. You have been described as using low tech production techniques (R. Smith). How do you feel about the incorporation of outsider art into contemporary art practice?How would you define an outsider vs. insider?

 Links

• P.S.1 Studio Visit
  
• Youtube
  Video 1 , Video 2
• Roberta Smith Review
  “Mr. Thayer’s art is ostentatiously low-tech, with all his objects doing double duty as animation prop or puppet. Preciousness is a constant threat, and so is obscurity, but Mr. Thayer’s ability to transform and amplify his modest artworks as they travel from one medium to another is little short of magical. “
  
• Short Interview
• Performance at Whitney Biennial

Images

David Jacobs

 David Jacobs

David With The Head of Goliath

2012

oil on panel

6"x8"

Vacation Wallpaper

2012

oil on panel

4"x4"

Where's Lunch?

2012

oil on panel

14"x8"

Maurizio Cattelan

 

Daddy Daddy

2008

   

Not Afraid of Love

2000

                                                  

Untitled

2007

Questions For Maurizio Cattelan

You worked many jobs before becoming an artist.  How did those jobs influence your art practice?

Is retiring a new way of exploring the theme of failure?

You once talked about staring at a painting for a year before giving up on it. Will you try painting again in the future?

Jacob Williams

Jacob Williams, "Scream", Ceramic and enamel, 2012, 10"x6"x3"

Jacob Williams, "Red Dogon", Ceramic, 2012, 14"x8"x6"

Jacob Williams, "Antelope Mask", Ceramic and enamel, 2012, 15"x7"x2"

Sterling Ruby, Superoverpass, 2007, Formica, wood, screws, glue, 88 × 132 × 48 inches (installation view). Courtesy of Foxy Production.

Consolidator, 2008

Formica, wood and spray paint
175.3 x 233.7 x 642.6 cm / 69 x 92 x 253 in

Sterling Ruby, Monument Stalagmite / Vampire Empire, 2011.

American Risk, 2009. PVC pipe, foam, urethane, wood, spray paint and formica, 422 x 229 x 183 cm. Courtesy the artist and PaceWildenstein, New York / Beijing.

ACTS/KKDETHZ, 2009. Formica, wood, spray paint and urethane, 154 x 159 x 86 cm. Courtesy the artist.Photos: Robert Wedemeyer.

Installation view, 'Grid Ripper', Galleria d'arte Moderna e Contemporanea, Bergamo, Italy, 2008

CDCR, 2011
PVC pipe, foam, urethane, wood, spray paint and formica
162.6 x 609.6 x 168.9 cm / 64 x 240 x 66 1/2 in

Three Questions for Sterling Ruby

In your piece Superoverpass from 2007, do you reference Minimalism with a nod towards the tradition or are you using the formal qualities of this movement as an ironic gesture towards Minimalism?

In your show "VAMPIRE" the piece Consolidator seems to evoke archeology and monuments, specifically  these kinds of frozen forms that operate in the social imagination, are you more interested in the forms these tend to take or in the deeper psychological manifestations of artifacts and monumental sculpture?

What did you take from being Mike Kelley's assistant? And perhaps more importantly, what did you not take?

Kwantaeck Park

3 questions for Shilpa Gupta

1. When you were doing "threat" piece, I assume you were aware of Felix Gonzalez-Torres and Janine Antoni's work.  How do you decide to what extent you use previous art historical reference in your work?

2. What's the difference between your way of documenting installation and 

Shilpa Gupta

I TRIED VERY HARD TO CUT THE SKY IN HALF, ONE FOR MY LOVER AND ONE FOR ME. BUT THE SKY KEPT MOVING AND CLOUDS FROM HIS TERRITORY CAME INTO MINE. I TRIED PUSHING IT AWAY, WITH MY BOTH HANDS, HARDER AND HARDER BUT THE SKY KEPT MOVING AND CLOUDS FROM MY TERRITORY WENT INTO HIS. I BROUGHT A SOFA AND PLACED IN THE MIDDLE, BUT THE CLOUDS KEPT FLOATING OVER IT. I BUILT A WALL IN THE MIDDLE, BUT THE SKY STARTED TO FLOW THROUGH IT. I DUG A TRENCH, AND THEN IT RAINED AND THE SKY MADE CLOUDS OVER THE TRENCH…

Untitled (There is No Border Here) 
Wall Drawing with Self Adhesive Tapes, 2005-06
118x118 in | 300x300 cm

Memory

Architectural Installation, 2007
MAC-VAL Paris

Threat
Bathing Soaps, 2008-09
5.9x2.5x1.6 in | 15x6.2x4 cm each soap
28.5x90x42 in | 72x229x107 cm stack of 4500 soaps
Visitors were invited to take a soap each