There are one or two of Christopher Wool’s paintings that I would love to have. There are a number of pieces by friends of mine. I wouldn’t mind a Richard Serra curved steel presence in my own home or in my garden or in my life. I usually think of some enormous or monumental piece, but there are so many. That’s funny, it’s like stepping over to the other side. If you could own any work of modern or contemporary art, what would it be? They never quite followed one party line, they had a voice all their own. They did an issue with Robert Ryman I remember I loved. A lot of the writing was done by artists, and I think Walter did a lot of the writing. It was a new kind of tenor in the field of art writing, it had reverberations. I think Artforum got a lot from ART/WRITE. I was slipping away from Artforum at that point into something slightly different, more toward Walter Robinson’s Magazine ART/WRITE -I knew him by Mike Robinson, I still call him Uncle Mikey sometimes. With friends I can remember things that kept me up all night thinking, like something that somebody said.Įvery single art magazine and art book that I ever looked at before I was able to actually go see the art I got a lot of my inspiration from magazines like Avalanche with Lize Béar in the early 1970s, and really all of those magazines in the early 1970s, like Studio International in England. I think the kind of ideas we gave each other were really stimulating.
The people I got the most from, at least in the beginning, were my friends and peers and the circle I came of age with. I have been thinking about people that inspire me the most, because my daughter right now is embarking on a career doing much the same thing I did. There’s a reason for that, maybe because we’re hunters.
#Watch serra ever forward never back 2013 full
That’s why having a video monitor in a gallery full of drawings to me is a no contest, because the eye always goes to the thing that’s moving. Movement is the thing that catches the eye. I guess there’s a kind of internal equivalent to all of those things, an emotional scale or something. I have a natural interest in things that move and things that sore and things that fly. Photo courtesy of the artist and Paul Kasmin Gallery. My parents were always happy that I knew what I wanted to do, and helped me in any way they could. Now that I’m older, I hear about friends of mine who didn’t have that kind of support. I was always doing different things, and I got great support from my family, which was lucky. And I remember being given a whole bunch of old 78 RPM records and throwing them up in the air so they came down in the lawn like a knife blade or something, and the whole was filled with embedded 78s, it was beautiful. I remember painting the neighbor’s roadbed entrance with bright red enamel paint, like household enamel. I do remember though, a whole lot, and I always did things that were heading in that direction. The only other thing I was aware of wanting to be was a soldier standing guard above the Suez Canal, but I don’t know how long that lasted, probably about a week. Or at least I never wanted to be anything else. Well, I kind of always wanted to be an artist. When did you know you wanted to be an artist? artnet News caught up with the painter days before his upcoming show of “high-speed drawings,” opening on September 10 at Paul Kasmin Gallery to talk about the booming art scene in New York, and his start as an artist in New York in the mid-1970s. His films and paintings are held in many collections, including at The Metropolitan Museum of Art, the Anthology Film Archives, and the Museo Nacional Centro de Arte Reina Sofía in Madrid. In his early years in New York, Nares was a punk- influenced No Wave musician, filmmaker, and performer. Born in London, UK, Nares attended the Chelsea Art School in London from 1972 to 1973, before studying at the School of Visual Arts in New York from 1974 to 1976. These finished paintings usually consist of a single brushstroke, though the process of making is varied, with many drafts until he finds a satisfying balance between spontaneity and purpose. Working with brushes of his own design, British painter James Nares is most known for his paintings attempting to capture the moment of their own creation.
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