Jarrett Moran

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Jarrett is the editor at Artlog and a reader at the Paris Review.

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Interview with Carolee Schneemann
11/17 | Jarrett Moran, Caro...

The New York art world in the ‘60s was very small and intense, and you could approach artists that you knew were going to be significant. I could go talk to John Cage, be the secretary for Edgard Varèse, go to Philip Guston’s studio and hang around. We could go to the openings of older artists, and it was easy, convivial, a tremendous source of information.

Mickey Smith: Believe You Me
11/08 | Jarrett Moran, Mick...

Books that don't exist to be read but to lend their aura to the proceedings around them, from presidential addresses to pornos.

A Pleasurable Balance: Steve Clark and The Paris Review
02/07 | Jarrett Moran

Steve Clark's exhibition of paintings, The Girl is Blue and Refuses to Sing, might surprise those who know Clark as a bilingual poet and former Senior Editor of The Paris Review.

Artlog Year in Review
01/06 | Jarrett Moran

As Artlog moves into 2012, it’s hard to imagine that at this time last year we were building our new website and starting to shoot our first video interviews. Before long, we were expanding internationally and releasing a global set of exhibition guides to major cities. Our network of contributors now includes the likes of Museum Nerd, Anne Pasternak, and Amy Phelan. Here’s a quick glance back at the year on Artlog.

Using the Web to Rebel Against the Web
10/06 | Jarrett Moran

Social Media at The Pace Gallery assembles a group of artists responding to the internet, whether as a way of bringing people together, as an aesthetic influence, or as a state of affairs to regard skeptically and even satirize. Social Media takes a long view that starts in the 1960s with Robert Heinecken (the show’s one pre-internet artist), who altered magazines like Time and Mademoiselle with his own collages and put them back on supermarket racks for others to stumble on. Since Heinecken, the idea of pulling from, responding to, and feeding back into the media has become more commonplace – Twitter, Tumblr, conceptual art video games, supercuts, and super supercuts attest to the prevalence of Heinecken’s media interventionism.