P! login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search links ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版 DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search links 500 WORDS ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM EA &la Eine Lus中t文ig版 Cohen RECENT ARCHIVE 08.11.15 DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT Elaine Lustig Cohen reflects on her career and exhibition at the Glass 500 WORDS House Elaine Lustig Cohen Karine Fauchard and RECENT ARCHIVE 08.11.15 Lazar Lyutakov speak about Baba Vasa’s Cellar Elaine Lustig Cohen Nick Cave talks about his reflects on her career and latest exhibition and exhibition at the Glass staging performances House around Detroit Karine Fauchard and Genesis Breyer P­Orridge Lazar Lyutakov speak discusses their work and life about Baba Vasa’s Cellar Stanley Whitney Nick Cave talks about his discusses painting and latest exhibition and his show at the Studio staging performances Museum in Harlem around Detroit Jimmie Durham Genesis Breyer P­Orridge discusses his work at the discusses their work and NBK in Berlin and the life Venice Biennale Stanley Whitney discusses painting and NEWS DIARY PICKS SLANT his show at the Studio View of “Elaine Lustig Cohen,” 2015, Glass House, New Canaan, Connecticut. Museum in Harlem Newest Reviews Jimmie Durham Elaine Lustig Cohen is an artist, graphic designer, and AIGA medalist known for her spectacular book covers, discusses his work at the Jonas Lipps exhibition catalogues, and collaborations with architects such as Philip Johnson and Richard Meier. Here, NBK in Berlin and the Otobong Nkanga she talks about the intersection between design and architecture in her paintings on the occasion of a show Venice Biennale Jesse Wine of her early work that is on view at Johnson’s Glass House in New Canaan, Connecticut, through September Tino Sehgal 28, 2015. David Haines and Joyce MY ABSTRACTION NEVER CAME FROM NARRATIVE; it came from architecture. Even though I had many Hinterding NEWS DIARY PICKS SLANT friends who were writers, I was never particularly drawn to narrative. When I finished my first paintings on View of “Elaine Lustig Cohen,” 2015, Glass House, New MCoanaa aHna,t oCuomnnecticut. Newest Reviews view in the show, such as Centered Rhyme, I would look at them and there was always something more I Elaine Lustig Cohen is an artist, graphic designer, andF rAaInGçoAis em Gerdoassliesnt known for her wsapnetcetda ctou leaxrp blooroe,k hceonvceer sth,e repetition of shapes such as the diamond, the hexagon, and the parallelogram. Jonas Lipps exhibition catalogues, and collaborations with architecItdsa sEukcbhla das Philip Johnson andT Rhiecrhea wrda sM ae mieor.r pHheorloeg,y to working in series like that. Part of my process did carry over to design, but none “Villa Aurora Revisited” Otobong Nkanga she talks about the intersection between design and architecture in her paintings on othf me yo cecaarlsyi odens oigf na w sohrok wwas painted. Since in the early days of design we pasted up the images, they were “Can The Museum Be A Jesse Wine of her early work that is on view at Johnson’s Glass House in New Canaan, Connectmicaunti,p tuhlraotiuognhs oSf epphtoetmogbreapr hs, colors, and fonts. What did carry over to my paintings from the graphic work Garden?” was in the sketching, because to do anything that hard­edged I had to do a sketch when I planned the Tino Sehgal 28, 2015. “Against Automatism” paintings. David Haines and Joyce MY ABSTRACTION NEVER CAME FROM NARRAT“ITVhEe; O itr dcear mofe T hfriongms” architecture. Even though I had many Hinterding For me, painting is a combination of the flat plane and the color. When I sit and look at things, it is always friends who were writers, I was never particularly drawJno rtgoe nMaérnrdaetziv Bel.a Wkehen I finished my first paintings on Mona Hatoum about the interaction of the planes. When I was doing graphic design in the postwar period, architecture was view in the show, such as Centered Rhyme, I would lo“oSkec aret t tIhdenmti tiaens:d there was always something more I Françoise Grossen Superheroes and going to save the world! We were all going to be good in life because of the space we lived it in. It’s a wanted to explore, hence the repetition of shapes suchS ealfsh otohde” diamond, the hexagonw, oanndde rtfhuel d preaaramll,e blougt rthaamt .was the mind­set of the time. On Alvin Lustig’s shelf, when I married him, were Ida Ekblad There was a morphology to working in series like that.A Pdamrt Goof lmfery process did carry obvoeork sto b dy ePsieigt nM, obnudt rniaonn, eSigfried Giedion, László Moholy­Nagy, and Lewis Mumford. Postwar expression for “Villa Aurora Revisited” of my early design work was painted. Since in the early days of design we pasted upm teh ew aims angoet sa,b othuet yin wdievirdeualism or the freedom of a Jackson Pollock; it was about cultural renewal in an “Can The Museum Be A manipulations of photographs, colors, and fonts. What did carry over to my paintingsa frrcohmite tchtoen gicr aepxphriec swsioornk. Garden?” was in the sketching, because to do anything that hard­edged I had to do a sketch when I planned the Architecture was always a part of my informal training as an artist. When Alvin and I lived in Los Angeles, we “Against Automatism” paintings. did not go to museums. There were no museums there in those days, but during 1948 and 1949, Arts & “The Order of Things” Architecture magazine commissioned young architects to design the Case Study Houses in Los Angeles. We Jorge Méndez Blake For me, painting is a combination of the flat plane and the color. Whe334n I sBROOMEit and loo STk a t things, it is always Artforum.com spent our weekends driving around and looking at Richard Neutra and Rudolf Schindler. That was the about the interaction of the planes. When I was doing graphic designNEW in th YORKe pos NYtwa 10002r perio d , architecture was As told to Andrianna Campbell “Secret Identities: entertainment. We were friends with the Eameses; Alvin knew the Arensbergs, and we would go to their going to save the world! We were all going to be good in life because of the space we lived it in. It’s a Superheroes and +1 212 334 5200ho me to view art. From the very11 be Augustginning ,2015 art for me was about this interplay with architecture. Selfhood” wonderful dream, but that was the mind­set of the time. On Alvin [email protected]’s shelf, when I married him , were Adam Golfer books by Piet Mondrian, Sigfried Giedion, László Moholy­Nagy, and @P_EXCLAMATIONLewis Mumford.M Pyo ssotlwo adre esixgpnr ecasrseioern l afosrted from around 1957 to the mid­1960s, which is a short history compared with how me was not about individualism or the freedom of a Jackson Pollock; it was about culoltnugra Il hraevnee wbeael nin p ainnting, but it all started when Philip Johnson called me and said, “Get on with it! Do it.” He architectonic expression. had hired Alvin to do the signage for the Seagram Building, but when Alvin died he had not designed anything yet. Two weeks or so later, I got the call that would lead to ongoing collaborations with Philip. I had Architecture was always a part of my informal training as an artist. When Alvin and I nlievveedr idne sLiogsn eAdn agneyltehsin, gw oen my own in my life, but I did every piece: the 375 address outside, the Brasserie did not go to museums. There were no museums there in those days, but during 194s8ig na,n fdir e1h9o4s9e, cAorntns e&ctions, switches, even things that wouldn’t be seen. It helped me survive for three years. Architecture magazine commissioned young architects to design the Case Study HoIu dsied sa liln t hLeo csa Atanloggeulees. fWor eevery museum he designed, every piece that had lettering on it. Philip was very spent our weekends driving around and looking at Richard Neutra and Rudolf Schindfalestr .a Tnhd aatl wwaayss thhaed three ideas for every one idea you showed him, but if I stuck to my guns he would entertainment. We were friends with the Eameses; Alvin knew the Arensbergs, and walew awyosu gldo wgoith t om tyh einisrtincts. home to view art. From the very beginning, art for me was about this interplay with aWrcheitne cI tsutraert.ed having people over to my studio, they were mainly writers—Donald Barthelme, Ralph Ellison, and John Ashbery—but there were artists too, such as Helen Frankenthaler and Robert Motherwell. My solo design career lasted from around 1957 to the mid­1960s, which is a short hiEstvoerryy ocnoem wpaasr esdu pwpiothrt ivheo,w but I was still an outsider. That is the way history is written. I am still interested in long I have been painting, but it all started when Philip Johnson called me and said, p“Gaienti nogn, wtyipthog irt!a pDhoy ,i tc.”o lHlaege, watercolor, and the computer; I still do everything. There is no line for me. You had hired Alvin to do the signage for the Seagram Building, but when Alvin died he haarde lnuockt yd etos ibgen cerdeative and be able to do it. anything yet. Two weeks or so later, I got the call that would lead to ongoing collaborations with Philip. I had never designed anything on my own in my life, but I did every piece: the 375 address outside, the Brasserie — As told to Andrianna Campbell for three years. sign, firehose connections, switches, even things that wouldn’t be seen. It helped me survive PERMALINK COMMENTS I did all the catalogues for every museum he designed, every piece that had lettering on it. Philip was very fast and always had three ideas for every one idea you showed him, but if I stuck to my guns he would always go with my instincts.

When I started having people over to my studio, they were mainly writers—Donald Barthelme, Ralph Ellison, and John Ashbery—but there were artists too, such as Helen Frankenthaler and Robert Motherwell. Everyone was supportive, but I was still an outsider. That is the way history is written. I am still interested in painting, typography, collage, watercolor, and the computer; I still do everything. There is no line for me. You are lucky to be creative and be able to do it. — As told to Andrianna Campbell

PERMALINK COMMENTS login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search links ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版 DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT

500 WORDS Elaine Lustig Cohen RECENT ARCHIVE 08.11.15

Elaine Lustig Cohen reflects on her career and exhibition at the Glass House Karine Fauchard and Lazar Lyutakov speak about Baba Vasa’s Cellar Nick Cave talks about his latest exhibition and staging performances around Detroit Genesis Breyer P­Orridge discusses their work and life Stanley Whitney discusses painting and his show at the Studio Museum in Harlem Jimmie Durham discusses his work at the NBK in Berlin and the Venice Biennale

NEWS DIARY PICKS SLANT View of “Elaine Lustig Cohen,” 2015, Glass House, New Canaan, Connecticut. Newest Reviews Elaine Lustig Cohen is an artist, graphic designer, and AIGA medalist known for her spectacular book covers, Jonas Lipps exhibition catalogues, and collaborations with architects such as Philip Johnson and Richard Meier. Here, Otobong Nkanga she talks about the intersection between design and architecture in her paintings on the occasion of a show Jesse Wine of her early work that is on view at Johnson’s Glass House in New Canaan, Connecticut, through September Tino Sehgal 28, 2015. David Haines and Joyce MY ABSTRACTION NEVER CAME FROM NARRATIVE; it came from architecture. Even though I had many Hinterding friends who were writers, I was never particularly drawn to narrative. When I finished my first paintings on Mona Hatoum view in the show, such as Centered Rhyme, I would look at them and there was always something more I Françoise Grossen wanted to explore, hence the repetition of shapes such as the diamond, the hexagon, and the parallelogram. Ida Ekblad There was a morphology to working in series like that. Part of my process did carry over to design, but none “Villa Aurora Revisited” of my early design work was painted. Since in the early days of design we pasted up the images, they were “Can The Museum Be A manipulations of photographs, colors, and fonts. What did carry over to my paintings from the graphic work Garden?” was in the sketching, because to do anything that hard­edged I had to do a sketch when I planned the “Against Automatism” paintings. “The Order of Things” Jorge Méndez Blake For me, painting is a combination of the flat plane and the color. When I sit and look at things, it is always “Secret Identities: about the interaction of the planes. When I was doing graphic design in the postwar period, architecture was Superheroes and going to save the world! We were all going to be good in life because of the space we lived it in. It’s a Selfhood” wonderful dream, but that was the mind­set of the time. On Alvin Lustig’s shelf, when I married him, were Adam Golfer books by Piet Mondrian, Sigfried Giedion, László Moholy­Nagy, and Lewis Mumford. Postwar expression for me was not about individualism or the freedom of a Jackson Pollock; it was about cultural renewal in an P! architectonic expression. Architecture was always a part of my informal training as an artist. When Alvin and I lived in Los Angeles, we did not go to museums. There were no museums there in those days, but during 1948 and 1949, Arts & Architecture magazine commissioned young architects to design the Case Study Houses in Los Angeles. We spent our weekends driving around and looking at Richard Neutra and Rudolf Schindler. That was the entertainment. We were friends with the Eameses; Alvin knew the Arensbergs, and we would go to their home to view art. From the very beginning, art for me was about this interplay with architecture.

My solo design career lasted from around 1957 to the mid­1960s, which is a short history compared with how long I have been painting, but it all started when Philip Johnson called me and said, “Get on with it! Do it.” He had hired Alvin to do the signage for the Seagram Building, but when Alvin died he had not designed anything yet. Two weeks or so later, I got the call that would lead to ongoing collaborations with Philip. I had never designed anything on my own in my life, but I did every piece: the 375 address outside, the Brasserie sign, firehose connections, switches, even things that wouldn’t be seen. It helped me survive for three years. I did all the catalogues for every museum he designed, every piece that had lettering on it. Philip was very fast and always had three ideas for every one idea you showed him, but if I stuck to my guns he would always go with my instincts.

When I started having people over to my studio, they were mainly writers—Donald Barthelme, Ralph Ellison, and John Ashbery—but there were artists too, such as Helen Frankenthaler and Robert Motherwell. Everyone was supportive, but I was still an outsider. That is the way history is written. I am still interested in painting, typography, collage, watercolor, and the computer; I still do everything. There is no line for me. You are lucky to be creative and be able to do it. — As told to Andrianna Campbell

PERMALINK COMMENTS

334 BROOME ST Artforum.com NEW YORK NY 10002 As told to Andrianna Campbell +1 212 334 5200 11 August 2015 [email protected] @P_EXCLAMATION