Category Archives: Kristin Holder

Kristin Holder on William Anastasi

By Rachel Nackman | Published: 03/13/2010

Untitled (Pocket Drawing) is a blind drawing made between the limbs of the arm and leg, next to the body instead of in front of it. These scratches and scrawls are recordings—ticks and twitches of the body, mind, and eye—that multiply as Anastasi folds and refolds the paper. The drawing’s intensity is evident twofold: first, in the glare of graphite, a sheen that is produced by pressing forcefully, and second, in the creation of a much fainter image—the transfer and mirror image of the primary marks. (I have to refrain from using the terms ‘original’ and ‘copy’ as the two drawings are made simultaneously.)

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Tad Mike with Kristin Holder

By Rachel Nackman | Published: 02/14/2010

Tad Mike: The issue of touch or lack of touch in your work is of interest. You are dealing with something as fragile as soot. There is this issue of approach, namely, how you begin to approach a white sheet of paper and marry these two disparate elements together. Do you imagine and prepare for a number of variables and factors to create these pieces?

Kristin Holder: Yes, pain being the first thing, burning myself. (Laughter)

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Kristin Holder on Sylvia Plimack Mangold

By Rachel Nackman | Published: 01/25/2010


This drawing does not lie in the province of artifice: there is no trickery, no trompe l’oeil, and no affectation of a dialogue between reality and a work of art. Untitled is the reality of Plimack Mangold’s process. It shows her synonymous employment of paint and tape as the materials, method and subject. However, her depiction of painted “tape” and painted “paint” stops far short of the real thing—an intentional disparity that stops us from naming the image and instead creates a stage on which the image becomes a series of movements, choreography.

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