Interviews by Brainard Carey

Portrait by Achaireftos

Georgios Papadopoulos combines economics and philosophy with institutional analysis and technology studies.

His research gravitates around money and its socioeconomic functions.

He holds a MSc in Philosophy of the Social Sciences from the London School of Economics and was awarded a Doctorate Degree from the Erasmus University, Rotterdam in 2015. The title of his PhD dissertation is “The Ontology of Money; Institutions, Power and Collective Intentionality”, supervised by Arjo Klamer.

Between 2003 and 2005 Papadopoulos researched on a postgraduate scholarship at the Erasmus Institute for Philosophy and Economics, in Rotterdam, and then in 2008 and 2009 at the Theory Department of the Jan Van Eyck Academy, in Maastricht. In 2012 he won the Vilém Flusser Award for Artistic Research by the transmediale festival and the University of the Arts (UdK) in Berlin for his project on the cultural analysis of the Greek currency.

Since 2013 he has been investigating the technological infrastructures for digital payments, first in the Department of Aesthetics and Communication in the University of Aarhus and then in the Laboratory for Artistic Technologies, in the University of Applied Arts, in Vienna. Papadopoulos has also a research interest in economic methodology, focusing especially in the intersection of aesthetics and economics. He has presented his work at the ICA in London, Haus der Kulturen der Welt in Berlin, MQ21 in Vienna, Tent in Rotterdam, and the Acropolis Museum in Athens. Currently Papadopoulos works on the Research Institute for Artistic Technologies (RIAT). Papadopoulos has published two books and a series of papers in academic journals, and edited volumes.

One Deutsch Mark (with Olav Westphalen), Athens Polytechnic School, Athens, 2011. 

Grexit on Tour (with Carsten Lisecki), Künstlerhaus Bethanien, Berlin, 2013.

Cuban-born Juan Alonso-Rodríguez is a self-taught artist with a career spanning over three decades in Seattle.

His work has been exhibited throughout the US, Canada and Latin America and is included in the permanent collections of the Tacoma Art Museum, Portland Art Museum, Museum of Northwest Art, Microsoft, Swedish & Harborview Hospitals, General Mills among others.

He has created public works for Century Link Field, Seattle/Tacoma International Airport, King County Housing Authority, Epiphany School, Sound Transit’s Light Rail system, Chief Sealth High School and Renton Technical College. His awards include a 2010 Seattle Mayor’s Arts Award, The Neddy Fellowship, PONCHO Artist of the Year, two Artist Trust GAPs, two 4Culture Individual Artist Grants, ArtSpace’s 2016 DeJunius Hughes Award for Activism and the 2017 Conductive Garboil Grant. Juan is a Seattle Arts Commissioner and serves on the city’s Public Art Advisory Committee.

His book, 8 Days in Havana, can be seen here.

Indigo Flow 2, 2017, acrylic on unprimed canvas, 48" x 48"

Hoody, 2017, stainless steel, 138" H x 63" x 79", commissioned by WA State Arts Commission for Renton Technical College

Paula Wilson, photo: Mario Gallucci

Paula Wilson received an MFA from Columbia and a BFA from Washington University in St. Louis, MO.

Wilson’s most recent solo exhibitions were FLOORED, at Williamson|Knight Gallery, Portland, OR (2018), Salty & Fresh at Emerson Dorsch Gallery, Miami FL (2017), and The Backward Glance at Bemis Center for Contemporary Art, Omaha, NE (2017).

She has been included in four exhibitions at the Studio Museum in Harlem, exhibitions at Skidmore College (2015), Inside-Out Art Museum in Beijing (2014), Postmasters Gallery (2010), Contemporary Arts Museum Houston (2009), Zacheta National Gallery of Art in Warsaw (2007), Sikkema Jenkins & Co. (2006), just to name a few.

She has been featured in publications such as Hyperallergic, Artforum, The New York Times, the New York Observer, and The New Yorker. Wilson’s artwork is in many prestigious collections including, The Studio Museum in Harlem, the New York Public Library, Yale University, Saatchi Gallery, and The Fabric Workshop.

Stained Glass Vision, 2016 Monotype, woodblock print, acrylic, spray paint, machine stitching and oil on canvas with cherry wood hanger 77 1/2 × 94 1/2 in 196.9 × 240 cm

Reflection Pool Near Nogal Peak, 2010 Oil, spray paint, on paper and canvas 53 × 70 in 134.6 × 177.8 cm

Dexter Wimberly photographed by Micah Ganske.jpg

Dexter Wimberly is an independent curator and entrepreneur who has organized exhibitions and developed programs with galleries and institutions throughout the world including The Third Line (Dubai); Koki Arts (Tokyo); Contemporary Art Museum, Raleigh, NC; and the Museum of Arts and Design (NYC).

His exhibitions have been reviewed and featured in publications including The New York Times, Artforum, and Hyperallergic; and have received support from The Andy Warhol Foundation for the Visual Arts. Wimberly served on the board of the New York-based arts nonprofit, The Laundromat Project, and actively supports other arts organizations. Prior to developing his curatorial practice, Wimberly was the founder and CEO of the pioneering marketing agency, August Bishop. He has also served as Director of Communications for The Museum for African Art, NY; Director of Strategic Planning at Independent Curators International, NY; and Executive Director of Aljira, a Center for Contemporary Art in Newark, NJ.

In 2018, Wimberly founded ART WORLD CONFERENCE, a professional development company for visual artists and arts professionals, and serves as its CEO.

 

The book mentioned in the interview is But What If We We're Wrong? by Chuck Klosterman.

A Fast Moving Sky. The Third Line, Dubai, 2017

Derrick Adams, Sanctuary Exhibition, Museum of Arts and Design, 2018

Jessica Baran is a poet, curator, critic and Associate Director of Curatorial and Program Development at Barrett Barrera Projects and projects+gallery.

The author of three poetry collections - most recently "Common Sense" (Lost Roads Press, 2016) -  she is the former art writer for the Riverfront Times(2008-2012), Assistant Director of White Flag Projects (2008-2011), and Director of fort gondo compound for the arts (2012-2016). She also lectures intermittently at the Sam Fox School of Design & Visual Art and St. Louis University’s Prison Arts & Education program.

She holds a B.A. in visual art from Columbia University, NY and an MFA in poetry from Washington University in St. Louis – where she lives with poet Nathaniel Farrell and their dog Benny.

The artist project mentioned in the interview by Catalina Ouyang's can be seen here: anotherdocument.info

"Overview is a place," March 6 - 12, 2018 at the SPRING/BREAK Art Show (New York City). Artists included: Lyndon Barrois, Jr., Addoley Dzegede, Jen Everett, Kahlil Irving, Basil Kincaid, Katherine Simone Reynolds, WORK/PLAY. Image: Samuel Morgan.

"XOXO," February 8 – March 10, 2018 at the Des Lee Gallery (St. Louis, MO). Group exhibition including work by Zoe Buckman, Nicole Eisenman, Fantich & Young, Chantal Jaffe, Terence Koh, Marilyn Minter, Toyin Odutola, Mickalene Thomas and Lynette Yiadom-Boakye, among others. Image: James Byard.

Katy Didden’s first book, The Glacier’s Wake, won the Lena-Miles Wever Todd Prize from Pleiades Press.

The poems in The Glacier’s Wake invoke the large-scale tectonics of the natural world (craters, volcanoes, glaciers, and waterfalls).  In many poems, the speakers are preoccupied with contemporary environmentalism, and often confront the contrary impulses of consumerism and conservation.

In her new manuscript-in-progress, “The Lava on Iceland,” she adopts lava as a persona, erasing a series of texts about Iceland (an Icelandic Edda, a survey of volcanism, interviews with Bjork) into lyric poems. To create the look of lava, she collaborates with graphic designer Kevin Tseng, who layers the erasures over photographs they solicit from friends and fellow Icelandophiles.

Katy’s poems and reviews appear in journals such as Poetry Northwest, Ecotone, Bat City Review, The Kenyon Review, Image, The Missouri Review, Smartish Pace, 32 Poems, The Spoon River Poetry Review, The Sewanee Review, and Poetry. Her work has been featured on Verse Daily and Poetry Daily. She has received scholarships and residencies from The Bread Loaf Writers’ Conference, Sewanee Writers’ Conference, the Vermont Studio Center, the Virginia Center for Creative Arts, the Ragdale Foundation, the Hambidge Center, and the MacDowell Colony.

After earning her PhD at the University of Missouri, she held a Hodder Fellowship at Princeton University (2013–2014), and taught as a Visiting Assistant Professor in the MFA Program at the University of Oregon.  She is currently an Assistant Professor at Ball State University in Muncie, Indiana.

The books mentioned in the interview are: Carl Phillips, Wild is the Wind; Tomy Pico, Nature Poem; Robin Wall Kimmerer, Braiding Sweetgrass.

I. Photo: “Iceland.” Maureen Horgan. 2014. II. Primary Text: Berwick, Isabel. “Beyond the Wall in Iceland’s ‘Game of Thrones’ Locations.” The Financial Times. February 14, 2014. III. Text and Photo Layout: Kevin Tseng IV. Erasure/ Exposure poem: Katy Didden. Originally published in The Kenyon Review, Vol XXXIX, May/ June 2017.

I. Photo: “Iceland.” Jennifer Leung. 2004. II. Primary Text: Halfdanarson, Gudmundur. Historical Dictionary of Iceland. Lanham, Maryland: Scarecrow Press, 2008. III. Text and Photo Layout: Kevin Tseng IV. Erasure/ Exposure poem: Katy Didden. Orginally published in The Kenyon Review, Vol XXXIX, May/ June 2017.

Harry Philbrick founded Philadelphia Contemporary in 2016.  PC is a nonprofit visual and performance art organization presenting pop-up programming across the City and aiming to erect a new building embodying his vision for a 21st century contemporary art museum.

From 2011 – 2016 he was Director of the Museum at the Pennsylvania Academy of the Fine Arts, known internationally for its collections of 19th- and 20th-century American art.  He spearheaded a revived engagement with contemporary art at PAFA, having created a substantial endowment to rekindle the Museum’s program of actively collecting contemporary art and leading an ambitious program of contemporary exhibitions.

He was Director of The Aldrich Contemporary Art Museum from 1996 – 2010, where he led the Museum’s first capital campaign for the 2004 renovation and expansion of The Aldrich which created increased exhibition space, an education center, and a sculpture garden that enhances the Museum’s historic location.

He developed the nationally recognized Student Docent Program, which trains students as young as ten years old to be docents for their peers.  This program reflects his deeply held belief in the power of engaging diverse communities with contemporary art.  Philbrick trained as an artist.  He lived and worked in Connecticut, New York, London, and Tokyo before coming to Philadelphia.

The book he mentions in the interview is Originals, by Adam Grant.

Eiko Otake performing at Bartram’s Garden on the Schuylkill River.

Jordan Griska’s Wreck displayed on Pier 9 on the Delaware River

Outbound Poetry Festival in 30th St Station.

Annie Lapin was born in Washington, D.C. and lives in Los Angeles.

She received a Bachelor of Arts from Yale University in 2001; a Post-Baccalaureate Certificate from the School of the Art Institute of Chicago in 2004; and a Master of Fine Arts from the University of California, Los Angeles in 2007.

One-person exhibitions of Lapin's work have been presented at the Weatherspoon Art Museum, Greensboro, NC (2013); Santa Barbara Contemporary Arts Forum, Santa Barbara, CA (2012); Pasadena Museum of California Art, Pasadena, CA (2009); and Grand Arts, Kansas City, MO (2008).

Her work has been included in group exhibitions such as Her Crowd: New Art by Women from Our Neighbors' Private Collections, Bruce Museum, Greenwich, CT (2016); Sincerely Yours, Torrance Art Museum, Torrance, CA (2015); The Go-Between, Museo di Capodimonte, Naples, Italy (2014); Chasm of the Supernova, Center for the Arts Eagle Rock, Los Angeles, CA (2012); La Californie, The Museum of Public Fiction, Los Angeles, CA (2011); Baker's Dozen III, Torrance Art Museum, Torrance, CA (2011); Unfinished Paintings, LACE: Los Angeles Contemporary Exhibitions, Los Angeles, CA (2011); and NewNow, Nerman Museum of Contemporary Art, Overland Park, KS (2009). Lapin was the recipient of the Falk Visiting Artist Reward from the Weatherspoon Art Museum in Greensboro, NC in 2013. She lives and works in Los Angeles.

A Play oil paint, Cel-Vinyl paint, charcoal, acrylic, urethane medium on linen 72"x96" 2016

Studio, taken 3/16/18

Angela Cockayne explores the interface between art practice, text, natural sciences and ecology to address issues of the future sustainability of the planet. Terms familiar from art and museology such as custodianship, ownership and stewardship, become both illustration and metaphor in regard to the need to address the future life of the world around us.  Issues of gender and hierarchies of practice are integral to her work.

She deploys a variety of media and arenas of practice. Temporary installations marshal artefacts of many types: found and natural, those in collections such as ‘cabinets of curiosities’ created by the 19thc polymath naturalist collectors; and her own studio made work. Other media such as film, installation, performance, blogs and publications are used to re-present ideas.

Within this broad field of enquiry, specific ideas and imagery become conduits for provocations as to how we understand and express the issues. For example, with the whale as subject she takes in the recent history and myth making around the creature, from the story of ‘Moby Dick’ to current debates about sustainability and the biodiversity of the oceans.

On midsummers day 2017 in rural Cornwall, Cockayne filled a retired 44ft wooden fishing vessel named Embrace with 300 artworks, to form the Ark Embrace collection. A film, which archives this collection and selected works, was recently shown at the Newlyn Art Gallery in December 2107.

 The Ark Embrace project asks how artistic and curatorial interventions can engage and enhance ecological public understanding, in particular, with the unpalatable implications of a sixth-mass extinction. Embrace explores environmental issues through interdisciplinary practice, dialogue and curiosity. The ambition to create an ethical chamber of wonders, which obliquely disrupts and questions our anthropogenic dominion, and discerns some of the vapour trails we leave in our wake.

Angela is a Reader in Interdisciplinary Visual Art and guest teaches at Bath Spa University, she has two publications Dominion and Provenance co-authored with writer Philip Hoare and is co-curator of the internationally acclaimed www. mobydickbigread.com

Ark Embrace

Still from Embrace film 8mins

Embrace Collection installation shot

Director of Education Debbie Hillyerd leading a tour of 'Phyllida Barlow. Gig', Hauser & Wirth Somerset

Debbie joined Hauser & Wirth Somerset from Bath Spa University where, since 2004, she worked as an Associate Lecturer teaching Critical Studies, Fine Art and Curatorial Practice.

This is the first interview with her, the second one can be heard by clicking here.

Debbie also taught Visual Culture and Fine Art at the University of West of England, Bristol, Northbrook College, Brighton and Loughborough University.

She has a PDSA ICT in Art & Design Education (MEd), an MA in History of Art & Architecture from the University of Central England and a BA (Hons) Fine Art Painting from Bath College of Higher Education.

In addition to her teaching roles, Debbie has written on artist's practice and provided consultancy to many other institutions across the education sector. She lives in Somerset with her husband, who is a headteacher and has three children.

 

Arthaus, the youth group at Hauser & Wirth Somerset taking part in an action painting workshop with artist Martin Creed.

A school group taking part in a workshop and tour of 'Rita Ackermann. Turning Air Blue' at Hauser & Wirth Somerset