Search results for ""Author Lauren O'Neill-Butler""

Conversations with leading women artists, composers and writers from Judy Chicago, Anohni and Lynne Tillman to Ellie Ga, Tauba Auerbach and Renee Green This massive volume comprises over 80 interviews published across a 13-year span of Lauren O’Neill-Butler’s career as a writer, educator, editor and cofounder of November magazine. The majority of the interviews first appeared on Artforum.com’s interviews column, which O’Neill-Butler edited for 11 years. The book is divided into two sections, “Q&A” and “As Told To”—the first comprising interviews in a traditional format and the second recast by O’Neill-Butler in the interviewee’s voice. Interviewees include: Judy Chicago, Shannon Ebner, Carolee Schneemann, Lucy R. Lippard, Joan Semmel, Liz Deschenes, Eleanor Antin, Andrea Fraser, Anohni, Claudia Rankine, Lorrie Moore, Adrian Piper, fierce pussy, Nan Goldin, Nell Painter, Frances Stark, Sara Greenberger Rafferty, Alex Bag, Agnès Varda, Lisi Raskin, Mary Mattingly, Carol Bove, Jennifer West, Aki Sasamoto, Mary Ellen Carroll, Rebecca Solnit, Rita McBride and Kim Schoenstadt, Karla Black, Julia Bryan-Wilson, Lynda Benglis, Sturtevant, Rachel Foullon, Ellie Ga, Lisa Tan, Mira Schor, Jo Baer, Ruby Sky Stiler, Suzanne Lacy, Rebecca Warren, Katy Siegel, Marlene McCarty, Rachel Mason, Mary Kelly, Dianna Molzan, Lynne Tillman, Polly Apfelbaum, Jesse Jones, Dorothea Rockburne, Sarah Crowner, Lucy Skaer, Sophie Calle, Mary Beth Edelson, W.A.G.E., Mary Heilmann, Pauline Oliveros, Kathryn Andrews, Jessamyn Fiore, Aura Rosenberg, Lucy McKenzie, Rhonda Lieberman, Lucy Dodd, Hong-Kai Wang, Sakiko Sugawa, Beverly Semmes, Virginia Dwan, Jeanine Oleson, Tauba Auerbach, Renee Green, Iman Issa, Monir Shahroudy Farmanfarmaian, Joan Jonas, Yoko Ono, Donna J. Haraway and more.

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Most known for her bold and darkly painted portraits, Brooks was revolutionary in her feminist renderings of women in resistance. Openly queer, she challenged conceptions of gender and sexuality in her art, which also served as her refuge. While many of her male counterparts were disfiguring and cubing their subjects—often women—Brooks gave personhood and power to the figures she painted. Her frank approach to her complicated relationship with her mother, faith, wealth, sexuality, and gender is complemented by a keen wit that echoes the gray tones of her work. Though her paintings are held in major collections, Brooks’s influence in modernist circles of the early twentieth century is largely underexplored. This new publication, guided by Brooks’s own impressionistic musings, bridges an important gap between the art and the artist. An introduction by Lauren O’Neill-Butler explores Brooks’s role as an artist in the early twentieth century through the lens of gender and sexuality.

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A gorgeously produced monograph on Aram’s exquisite conflations of abstraction and decoration This volume brings together a group of new paintings, collages and sculptural works by Iranian-born, Brooklyn-based artist Kamrooz Aram (born 1978) that continue his exploration of the relationship between painting and ornament and his renegotiation of hierarchies that place the so-called decorative arts beneath the fine arts. Working primarily as a painter, over the past decade Aram has expanded his practice to include sculpture and collage, and he has employed wall painting as a form of exhibition design to unify these mediums in his exhibitions. Aram moved with his family to the US seven years after the Iranian Revolution and entered graduate school in 2001, where mentors such as Coco Fusco and Charline von Heyl imparted to Aram a politically minded and resilient work ethic. He has never lost touch with those paradigms, and his art engages critically with terms such as Western and non-Western.

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Recent abstractions from the organizer of the landmark 1971 De Luxe Show New York-based American painter Peter Bradley (born 1940) is known for his pioneering and influential use of acrylic gel paint in the 1960s. This volume presents nine recent paintings from Bradley, which depart from the thick impasto textures of his early work, instead favoring a flatter and cleaner aesthetic.

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