Gregg Bordowitz
Between December 2006 and January 2007, Sillman and Bordowitz recorded approximately 10 hours of conversation on topics ranging from art and philosophy to their personal histories and friendship. The resulting publication follows the chronology of their discussions from beginning to end. The transcript starts where they consider the beliefs underlying their respective endeavors, what art can and cannot accomplish.
This e-book contains a new postscript created by Sillman and Bordowitz in the summer of 2014.
“Between Artists” is an ongoing series of books edited by Alejandro Cesarco and originally published by A.R.T. Press. They are based on artist to artist conversations. The conversation format permits a thorough and at the same time informal investigation of the artists’ practice and the larger social issues that inform it. By virtue of their clarity, personal focus, affordability, and innovative method of distribution, these books make possible the presentation of contemporary artists and their work to a wide readership. Since the first “Between Artists” books were released in 2005, they have gained a cult following, and a number of ...
When Paul Chan and Sven Lütticken proposed to gather a series of “reports” on the (mostly) recent rise of right-wing, populist movements for e-flux journal, it was immediately apparent that the urgency and complexity of the topic required its own special issue. As protests erupt throughout Europe in opposition to austerity measures being pushed through by right-wing governments and EU fiscal bodies, we are also now witnessing a phenomenon spreading throughout the Northern Hemisphere in which some of the most brazen hardline racist rhetoric emerges not only from politicians, but from the general populace as well. What is going on? ...
We are in the middle of a time in which classical notions of flexibility and freedom actually work to alienate our relations to one another. But in fact the ability to shift, to deviate, to morph should constitute the strongest claim that we are much more than what traditional categories tell us we must only be. It is precisely when elaborate techniques of labor extraction become indistinguishable from sensations of pleasure and self-realization that queerness returns to insist on the freedom to move and the freedom to be what one is and what one wants to be—not as a matter ...
Glenn Ligon’s iconic Untitled (I am a Man) (1988) remembers the signs carried by striking African-American sanitation workers in Memphis, Tennessee in 1968. In this study of the painting Gregg Bordowitz discusses its relevance to representations of self, race and gender, with reference to other key works by Ligon such as the Profile Series (1990-91) as well as Narratives and Runaways (both 1993).
At this moment of political upheaval and dissent against the resurgence of fascism in the United States, Bordowitz’s timely account cites historical figures ranging from Sojourner Truth, who delivered her famous speech ‘Ain’t I A Woman?’ in 1851, ...
“Am I OK? Is there anyone around to see that I am OK?” A series of poems and letters that reflects on mortality, friendship, and psychic survival.
“Wake to Dread” by Gregg Bordowitz is part of Risk Pool, the twenty-fourth issue of Triple Canopy, that asks: how are sickness and wellness defined, and by whom? What are the effects of these definitions, these acts of naming and describing?
