QOQQOON - 2020
Performer/Spectator Relationships: A Dynamic of Equilibrium
by Marilyn Volkman, July 2020
The relationship between performer and spectator is predicated on physical, temporal, and psychological boundaries—a dynamic of mutual tension, dependency, and consent rooted in the continual flow of power from one to the other. It is this interaction between the spectator’s positioning and the performer’s taking action from which an artwork is born...
YALE UNIVERSITY PRESS - 2016
Read: Our Literal Speed presents "Emergencia," at Clark Art Institute, Williamstown, MA, 8 November 2014, published in Art History and Emergency, eds. David Breslin and Darby English (New Haven: Yale University Press, 2016)
A male academic and a female development officer converse in a generic space akin to a theater stage after having had dinner with a well-groomed, middle-aged man.
Well . . . what do you think? Did we pull it off? Was I going too “hard-sell” on him at the end? I mean, do you think he — understood? I feel like I was — he never really acted like he got it ...
TEMPORARY ART REVIEW - 2015
If art is a faith then I am an agnostic
May 11, 2015 at 8:51 AM
from: Marilyn Volkman
to: Steven Cottingham
I hate that I wake up re-inspired by art almost everyday. Sometimes I think it’s a trap. But maybe that’s just life.
It’s kind of funny, and I’m just rambling here, but I think it’s nice to have a name to put on it: that feeling of being inspired. It’s stupidly simple, but sometimes I just think that being inspired by art is being inspired by people, or being hopeful about art is the potential for people to do meaningful things, to approach life in a meaningful way. It’s this huge sensation of possibility...
ATLAS SIGHED - 2014
Atlas Sighed, catalog
page 4, Marilyn Volkman
'I hate that I wake up reinspired by art almost everyday'
UNIVERSITY OF CHICAGO: DOVA ZINE - 2014
BERFROIS MAGAZINE - 2014
OUR LITERAL SPEED, Dorchester Projects, Chicago, 3 October, 2014
Two actors sit in gray folding chairs in the center of a room filled with people. It is a symposium on public art. The actors begin to speak.
Abbey Shaine Dubin: I mean, what I’m trying to say is everybody’s got Martin Luther King wrong, okay? Everybody treats him like this sacred, you know, political figure, this cultural icon, or, I mean, if you’re some cracker dumbfuck from, I don’t know, Alabama or something, maybe he’s a demon. Doesn’t matter. Point is, no matter what, he’s somebody you can’t touch. Somebody you can’t understand unless he’s a plastic action hero. I mean, the whole Civil Rights thing, all that stuff, it’s totally off-limits unless you want to heroize everything in this mechanical, already obvious way.
Marilyn Volkman [hesitantly]: Okay. Maybe I’m following.
Info: OLS website
CHICAGO CONTEMPORARY ART - 2014
Yali Romagosa interviews Marilyn Volkman and Dan Paz, 2014
CHICAGO ART SLANT - 2012
Erik Wenzel on ARTE NO ES FACIL, curated by Marilyn Volkman and Dan Paz
GEOSLANT: IT AIN'T EASY
“He says, ‘It’s crazy that you can’t get people to do it.”
“Ok, but tell him: ‘To me, it is crazy to think that you could get people to do it.’”
We are standing outside on the street late at night in February trying to figure out how we’re going to realize our project, which is to be on view to the public in three days. To complicate things further, I speak no Spanish and my counterpart, Carlos Martiel Delgado Saínz, speaks no English. This is a typical exchange that has made participating in Arte No Es Fácil such a challenge and excitement. In Cuba you can get plenty of people to come help with something in a few hours notice. In America, you need at least a week, especially if it’s a Friday.
UNIVERSITY OF NEW BRUNSWICK - 2015
UNB RADIO, FREDERICTON, CANADA
The Lunchbox Interview: Marilyn Volkman (NEO- CRAFT)