Interview

March 05, 2018, 9:04am

A Conversation: Nina Chanel Abney

When I met Nina Chanel Abney on the occasion of her FOCUS show at The Modern in Fort Worth, she had just returned from South Africa where she spent three weeks. This much needed vacation was taken after her critically acclaimed duel solo shows opened at both Mary Boone Gallery and Jack Shainman in New York on the same night. Through her friendly smile, she mentions that she will be flying out to Paris in the morning for her show at Palais de Tokyo then flying back to open her solo show in her home town at the Chicago Cultural Center on what would end up being a very snowy day. About a week after our conversation, Abney was a recipient of a grant from the Tiffany Foundation. Needless to say, she has been busy. - Arthur Peña, Texas Contributor

Hobson's Choice, 2017, Acrylic and spray paint on canvas, 84 ¼" x 120 ¼", Nasher Museum of Art at Duke University; Museum Purchase.

March 22, 2017, 9:39am

A Conversation: Stanley Whitney

Arthur Peña: We first met in 2011 while I was at RISD and what stuck with me from that meeting was a story of how your father wasn’t allowed in museums because they were still segregated. How I remember the rest of the story is you saying that when you did have your first museum show you wanted to make paintings big enough that they wouldn’t fit through the door and the museum would have to work to get them in. Did I remember that right?

Stanley Whitney: Well it’s true that my father couldn’t go in to the Philadelphia Museum. Jack Whitten calls those years the “American Apartheid.” I have lots of stories of paintings not fitting through doors but I don’t think it’s exactly those circumstances. Although, I might have mentioned something like that. It could have been related to a story from around 2006 when my dealer José Freire came to me and asked me to make the biggest work I could make to take to Basel to try and make things happen because he kept putting me in shows and no one was paying me any mind. So I made the biggest painting I could make in my studio, 96 x 96 in., and to get it out we had to cut it in half to get it through the door. We showed it on a big expensive wall and it didn’t sell.

FOCUS: Stanley Whitney at The Modern in Fort Worth, TX

November 01, 2016, 10:23am

Kristen Dodge: Back in the Game at September

Kristen Dodge is not just one of my favorite art world people, she is one of my favorite people, period. In a business replete with elusive characters, Dodge is a rare straight shooter. (She is also rare in that she combines a deep knowledge of art with deadly business acumen.) In late 2010, after a number of years in Boston, she opened Dodge Gallery in New York’s Lower East Side and did what she does best: aggressively advocated for the artists and ideas that she passionately believes in. The gallery was open for four years, at which point Dodge decided she needed a break from the art world’s frenetic pace and rapidly shifting landscape. She and her husband, artist Darren Foote, moved to Upstate New York where they embraced a very different lifestyle.

Now, just over two years later, Dodge is back, and I think the art world is the better for it. Her recently opened space in Hudson, NY, September, has already gained a lot of attention. I wanted to know what brought her back into the “game.” – Steven Zevitas, Publisher

September 06, 2016, 9:02am

Light, Letting Go, and the LA River with Debra Scacco

Debra Scacco creates rich, multimedia pieces that play with light, reflections, shadows, walls, and borders. Her 2015-2016 solo show The Letting Go at Klowden Mann was full of works on paper, paintings, and more sculptural installation pieces that reference and play off of nature and geography in aesthetically pleasing and deeply profound ways. – Ellen Caldwell, Los Angeles Contributor

Debra Scacco, Installation view of “The Letting Go” at Klowden Mann, 2015.