artUS issue 15

FIRST DEGREE
The Suite Life of Damian Loeb: An Interview
by Otino Corsano

The October - November 2006 issue
of artUS features my interview
with Damian Loeb.

Inspirational and lucid,
Loeb's work
speaks for itself.

Another New Yorker Review: Joe Sola @ Bespoke, NYC

Another New Yorker review email: this time for Joe Sola's exhibition at Bespoke (through to November 14th, 2006) titled "Let's Go Do Some Watercolor Painting"

THE NEW YORKER MAGAZINE: OCTOBER 25 - 31, 2006

And again more reflection: This excerpt is from one of my early interviews with Joe, again from Samplesize, April 2004:

Otino Corsano: Why do you use appropriation as a strategy?

Joe Sola: It is really hard to compete with the dominant media, which you do, once you start using moving images. It would be almost impossible to make an action film of my own because it costs too much to create in this form.

Sometimes artists
can make one
slight move, one gesture,
that can completely
undo the film being appropriated;
completely take ownership of the same space
from which
the original film was made.

[...] Conversely I am working on a 35mm single shot film right now which has super high production values which will look just like the film Daredevil in terms of image and sound quality, but the content is very abstract. I am in production right now working with the Wexner Center for the Arts and the LEF foundation up in St. Helena, CA.

web archive link: The early Samplesize "Interview w/ Joe Sola"

Isca Greenfield-Sanders: Pinelawn Pools

Isca sent me an email in late September with good news: Her "Pinelawn Pools" exhibition (September 7th - October 14th 2006) at Goff + Rosenthal Galley was reviewed in the New Yorker Magazine:

THE NEW YORKER MAGAZINE: SEPTEMBER 27- OCTOBER 3

I interviewed Isca in November 2004.
At the time she spoke to me about her "beach detail paintings":
"These paintings depict incidental figures taken from the background of two photographs from my original archive of pictures. As the background figures are significantly smaller in the original photographs, these paintings are less defined and have a markedly different quality as compared with my more photographic earlier work.

The appearance of surface
paint is more prominent.
My desire was to have the oil paint act more like
watercolor;
I wanted these paintings to remain transparent
and bright, and in doing so,
speak about
temperature and light.

PDF link: The early Samplesize "Interview w/ Isca Greenfield-Sanders"