ancy Spero and Leon Golub are too well known to need much introducing here. They have been important figures in art and political circles at least since 1964, when they returned to NYC from Paris at the height of the Vietnam War. Today international interest in their work is high. The Eupatrids are rolling out the red carpets, and there is rock-solid succès d’estime among the rank and file. The more you know about Leon & Nancy, the more you want to find out, and here they have generously agreed to answer a few questions for afterart news readers.
Can you indicate for us the state of political art since 9/11? How do things look from downtown NYC?
We are not in the best position to comment on the state of political art since 9/11. It would be largely concentrated in video - to what percentage as against from before 9/11, we would have no idea. We follow very little video art (which has the capacity to totally eat up one’s time). As to how things look in downtown New York, it is cleared up and throngs of New Yorkers are going about their business without paying much attention. It is not that people don’t care, but New Yorkers live fractured harried lives and only occasionally get diverted to other concerns unless it is an extraordinary event such as 9/11. Down the street where we live the American Institute of Architects, NY Chapter, has in a window a glistening skyward ‘utopian’ building monument that has come out of the special interest struggles, etc., and the damn thing looks pretty good, surprisingly so.
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ere’s afterart news #2. Welcome back, and thanks for the warm reception you gave our first issue. Turns out culture vultures of many stripes are hungry for a quality art paper that’s free, doesn’t spout party line and focuses on developing international cultural and social tendencies. As you can see, we’re most excited by hybrid styles, borderline activities, fried brains, crossover artists, networks, the constantly mutating potential of the internet and the frontier of public and private spheres. We’re in English because any project like afterart news with international distribution has to be in English, unless you can afford an army of translators. We’re based on the onestar press network because it provides us with what is actually a meta-network of pre-existing artists’ networks, like a multi-galaxy universe with exponentially infinite possibilities. Want to make it into the pages of afterart news? It’s simple: publish a book with onestar press. Everybody else did, or knows someone who did.
