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1471 pages

English

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'Interviews' collates, in a single volume, the major body of interviews conducted by the revered American critic and curator Robert Storr, encompassing engaging discussions with some of the most renowned names in the artworld over the last two centuries. The book features nearly 30 illustrated interviews with artists and curators, including Gerhard Richter,Alex Katz, Chuck Close, Richard Serra, Gabriel Orozco, Elizabeth Murray, Harald Szleeman, Catherine David and Mike Kelley.The introduction by art historian and curator Francesca Pietropaolo precedes a conversation between herself and Storr in which they dissect the interview as a medium: discussing the ethics involved, the notion of technique and approach, alongside the limitations and difficulties of the process. 'Interviews' presents an important, stimulating chronicle of Storr's most essential discussions with an esteemed cast of interviewees.

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Publié par	Distributed by eBookpartnership
Date de parution	23 novembre 2021
Nombre de lectures	2
EAN13	9781912122561
Langue	English
Poids de l'ouvrage	12 Mo

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Extrait

Robert Storr
Edited and with a preface by Francesca Pietropaolo
Interviews on Art
N.B. All images in this ebook edition are enlargable by double-clicking on the selected image
Robert Storr, Venice, 2007
Photo: Joost van den Broek. Courtesy Hollandse Hoogte
Contents
Preface by Francesca Pietropaolo
Robert Storr
by Francesca Pietropaolo
Louise Bourgeois
Buckminster Fuller
Rudy Burckhardt
Chris Burden
Sophie Calle
Vija Celmins
Olga Chernysheva
Francesco Clemente
Chuck Close
Stan Douglas
Tom Friedman
Robert Gober
Felix Gonzalez-Torres
Pierre Huyghe
Jörg Immendorff
Neil Jenney
Kim Jones
Ilya Kabakov
Alex Katz
Mike Kelley
Ellsworth Kelly
Jeff Koons
Guillermo Kuitca
Jac Leirner
Robert Mangold
Brice Marden
Paul McCarthy
Annette Messager
Andrei Monastyrski
Malcolm Morley
Elizabeth Murray
Wangechi Mutu
Bruce Nauman
Gabriel Orozco
Gary Panter
Philip Pearlstein
Raymond Pettibon
Adrian Piper
Yvonne Rainer
Charles Ray
Mary Reid Kelley
Gerhard Richter
Robert Ryman
Peter Saul
Richard Serra
Harald Szeemann
Tatiana Trouvé
Kirk Varnedoe
Kara Walker
Lawrence Weiner
Jack Whitten
Index
Author Biographies
Acknowledgments
Preface
by Francesca Pietropaolo
“A book is a garden, an orchard, a storehouse, a party, a company by the way, a counselor, a multitude of counselors.”
Charles Baudelaire
“I don’t think there is any truth. There are only points of view.”
Allen Ginsberg
This book project was inspired by the desire to bring together, for the first time, the most important interviews conducted by Robert Storr. The idea for it came into being during a conversation with Storr in 2011 in Venice, where he had come to participate in a panel organized by the Venice Biennale Foundation. I had avidly read many of the compelling interviews with artists, curators, and critics that he had published in magazines and exhibition catalogs and, while living in New York, I had the opportunity to attend numerous public conversations with artists he conducted for the 92nd Street Y. (I should add that by then I knew him well, having worked with him closely on several curatorial projects.) Hence, the prospect of thoroughly exploring what promised to be a reservoir of richly diverse materials and of making a selection of them readily available to readers filled me with sheer enthusiasm.
My research in Storr’s archive at his house in Brooklyn, quite literally unearthing, with his generous help, original audio tapes of interviews – notably those with Louise Bourgeois – and immersing myself in the reading of his published interviews, after locating them one by one, was an experience akin to wandering into the vastness of a seemingly labyrinthine space governed by its very own order of an intrinsic, almost organic quality, so to speak. Every find was a rewarding experience. And that Storr’s archive is partly housed in his writing studio, almost entirely filled with books – as are the stairs leading to it – and adjacent to a second space devoted to painting, only added to my feeling of being enveloped in an atmosphere of alert creativity, where art is thought about and also present in the flesh.
Chosen out of a larger pool, the sixty-one interviews appearing in the pages that follow span the years from 1981 to 2016. They comprise engaging and thought-provoking dialogs on art with a wide range of artists of different generations and of different formal and poetic inclinations. The ultimate selection includes discussions on a variety of media, ranging from painting, drawing, sculpture, and installation to graphic work, photography, video, film, and performance. These conversations afford fresh insights into the methods, thinking, and achievements of some of the most influential artists of our time, and, simultaneously, they shed light on significant shifts in esthetic and cultural discourse over, roughly, the last four decades. The themes of the conversations encompass the intrinsic problems of art as well as social and political issues of the day. Together, in their broad range, these interviews offer an unusual cross section of the landscape of contemporary art, opening up a multitude of points of view.
Storr began interviewing artists in the early 1980s, that is to say, almost a decade before entering the museum world as a curator at The Museum of Modern Art in New York in September 1990. The conversations in this volume took place in a period of time during which he has become recognized internationally as one of the most important critics and curators of his generation. The first interviews he conducted were videotaped by Lyn Blumenthal or Kate Horsfield for Video Data Bank (VDB) at the School of the Art Institute of Chicago. In 1980, for instance, he interviewed Rackstraw Downes, in 1982 the poet and critic Peter Schjeldahl, and in 1984 he engaged with Eric Fischl, Peter Saul, and Susan Rothenberg. Three VDB interviews have been chosen for this book: those with Rudy Burckhardt and Buckminster Fuller, both realized in 1981, and the one with Robert Ryman from 1993.
At the 92nd Street Y in New York, where he oversaw the Artists’ Visions, Conversations Series Program from 1995 to 2011, Storr conducted sixty-four public dialogs with artists as well as with cultural figures, such as Arthur Danto and Irving Sandler. At the 92nd Street Y archive, I listened to the audio recordings. Those featured in this book represent a distillation of that vast output: conversations with Francesco Clemente, Robert Gober, Bruce Nauman, Paul McCarthy, Wangechi Mutu, Kara Walker, and Lawrence Weiner were edited so as to respect their colloquial immediacy; the conversation with Philip Pearlstein appears here in the form in which it was first published in 2002. One day it would be interesting to produce a book devoted to all the 92nd Street Y conversations conducted by Storr.
In some instances, I have included in this volume multiple interviews with an artist held over the years, illuminating the development of the interviewee’s ideas and methodology over time. This is the case of Louise Bourgeois, Gerhard Richter, and Robert Ryman, among others. The conversations with Louise Bourgeois were particularly compelling to listen to and I am grateful to Storr for having given me access to them. Those selected here allow us to gain an intimate view of her thought processes as an artist.
Among the most recent interviews, those with Mary Reid Kelley and with Andrei Monastyrski were specially commissioned for this book. Monastyrski’s words on the importance of John Cage for his practice and for that of Collective Actions are particularly enlightening. Cage’s presence is evoked as well, but from different angles, in the conversations with Buckminster Fuller, Olga Chernysheva, Ellsworth Kelly, Bruce Nauman, Yvonne Rainer, and Gerhard Richter.
The interviews with two curators, Harald Szeemann and Kirk Varnedoe, were selected from a pool of conversations with figures such as Catherine David, Massimiliano Gioni, and Marcia Tucker. If Szeemann focuses on the challenges of organizing his first edition of the Venice Biennale in 1999, Varnedoe, then at the beginning of his experience at the helm of the Painting and Sculpture Department at MoMA, addresses the challenges of collection-based museums and the role of The Museum of Modern Art particularly vis-à-vis the acquisition of contemporary art. The urgency of many of the issues he raises are still palpable today. Varnedoe’s thoughts prompt further reflections on how dramatically the art world has changed since then. The roots of such changes were already acutely perceived by Varnedoe in the sharp view he offered.
Disarmingly intimate in their general tone, these texts remind us that an interview is a process of discovery: it opens up matters rather then attempting to solve them. The dialogs the reader is invited to listen in on raise the level of discussion about art rather than imposing a monolithic view of it. They also exemplify Storr’s wariness of overarching abstract categories and pre-ordered programs. Furthermore they stand as a refreshing challenge to the spectacularization of the medium of the interview format today.
The interviewees are at the very center. The texts appear in the book not in chronological order but by interviewee, alphabetically. Selected images of the artworks discussed in these conversations, along with others that specifically resonate with them, are reproduced in chronological order so as to offer a visual unfolding of the artist’s trajectory.
In the interview I conducted with Storr, which serves as an introduction to this book, he discusses the interview as a genre, its limitations, and its possibilities. In the process, he touches on a wide range of issues about art and culture.
This volume will be followed by a companion publication gathering his most important writings. Many of the artists interviewed here have been written about by Storr and thereby illuminating connections will tether the two books.
I like to think of these conversations as doors to uncharted territories, much like the doors that open up in the Venetian corti sconte evoked by Corto Maltese, Hugo Pratt’s signature character. 1 Passing through them, having unlocked conventional certitudes and preconceived assumptions, we gain access to a multitude of worlds, of esthetic visions, and practices. Reading is a journey of discovery.
I am deeply grateful to Robert Storr for the time and spirit he has devoted to the lively exchanges, of which this book is the result. Above all, his and my heartful thanks go to the artists who enthusiastically agreed to participate in this project and generously responded to my many enquiries in the process. Our warmest gratitude goes to them and their representatives.

Robert Storr
Interviewing Is a Form for Finding Out: Conversation with Francesca Pietropaolo
Edited transcript of a