Pandemic confinement gave artist Anton Ginzburg the chance to observe the high modernist architecture of downtown Manhattan in an unusual light. Framed through the large windows of his apartment, located at the end of the Bowery, the acute angles and geometries of Brutalist buildings and high-rise towers became the subject of Ginzburg’s latest body of paintings. Entitled Translucent Concrete, the series serves as an abstract record of Ginzburg’s impressions of interior and exterior scenes that he observed during time spent indoors, or on walks through the deserted neighborhood. In this interview, presented on the occasion of Ginzburg’s second solo exhibition with the gallery, Ginzburg speaks with artist, theorist, and translator Keith Sanborn. For Ginzburg, French writer Ivan Chtcheglov’s manifesto “Formulary for a New Urbanism” was an intellectual influence. Published by the avant-garde movement Situationist International, which was active between the 1950s and 1970s, Chtcheglov was concerned with concepts of how human affect could interact with the urban dimension of the city. Sanborn and Ginzburg discuss the links between this latest series of paintings with the ideals of the Situationist International and reflect on the changing realities of urban living today.
This conversation was published on the occasion of Ginzburg's second solo exhibition with the gallery.
Read the conversation here.
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For the purposes of this Policy:
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Updated August 2019