No one knows Phaidon’s Contemporary Artists Series better than Michele Robecchi. The Italian-born, London-based writer and curator is Commissioning Editor at Phaidon, responsible for, among other things, this canonical series of monographs. In this interview, conducted to mark the series’ 30th anniversary, he talks about the way in which he works with artists, how he first came to be involved with fine art, and why it’s just as important to write intelligently about, as it is to create, contemporary art.
Michele Robecchi, the man behind the Contemporary Artists Series
Can you tell us a little about the beginnings of the Contemporary Artists Series? The Contemporary Artists Series was launched in 1995 by Iwona Blazwick, the former Director of the Whitechapel Gallery, who at the time was an editor at Phaidon. Despite its illustrious history, Phaidon didn’t really have a contemporary art program back then. Iwona conceived a series of monographs where the work would be discussed through multiple authors. If you look at the Aperto section at the Venice Biennale in 1993 or at Parkett magazine, you can see how in the 1990s there was a preference for having plural viewpoints on a subject rather than relying on a single authoritative figure. Iwona’s vision was perfectly aligned with the zeitgeist. Most importantly, she wanted to make sure that the voice of the artist would be heard – a key point that has made the books in the Contemporary Artists Series unique.
What’s the thinking behind the current Contemporary Artists Series list and how has it changed over the years? The CAS’s scope, in my view, is to reflect the current cultural climate, not to dictate it. Occasionally we dare to propose artists that have been making relevant work without having the recognition they deserve, but, in general, the thinking behind the list keeps changing from time to time. Initially it was pivotal to have artists that would validate the series. After thirty years, it is often perceived as the other way around. For my money, I would like the CAS to maintain an edge. These books are designed to introduce, celebrate and surprise.
Who have been the artists that you have most enjoyed working with over the years? I have learned something from every artist I have worked with. It is interesting to see how many different approaches can exist on the same basic concept. Every book is a surprise in that regard. Some obviously worked out better than others but in all fairness each experience is inevitably coloured by my feelings at the time.
Can you tell us a bit about the most recent and forthcoming artists in the series, including Yoko Ono, Jordan Casteel, Lisa Yuskavage, Rosa Barba, and Tavares Strachan? Most of Yoko Ono’s publications so far were either project-oriented or exhibition catalogues. As far as I can tell, this is the first stand-alone book about her work. Yoko Ono is one of the artists who piqued my interest in contemporary art when I was a teenager. She has an amazing history and I’m humbled that she and her team decided to work with us.
Jordan Casteel and Lisa Yuskavage have been massively invested in the making of their books. They were very generous with their time, open to suggestions and fun to work with. They seem to be pleased with the way their book came out which is the best possible reward for an editor. In Lisa Yuskavage’s case I am especially happy with the way we were able to reproduce her work. Her paintings can be tricky to get right but our production department delivered in a big way. Rosa Barba and Tavares Strachan are still in the making, but they promise to be special. They’re both incredible artists.
How do you go about putting the Contemporary Artists Series books together? The simple version is – we contact the artists first; once we secure their interest, we select the authors for the three main texts together. We then start laying out the book, and once we reach a place where everybody is satisfied, we go to print. The shelf life of our monographs is quite long. Artists are aware of the importance of creating a document that will stand the test of time, which often results in delays, but given the choice of having a non-perfect product out on time, versus a perfect product late, I always go for the latter, even if that invariably generates issues. As a fellow writer, I have the utmost respect for the people who contribute to our books, and I give them the same degree of attention I do for the artists. Last minute changes are par for the course. Flexibility is key in this job.
What’s the criteria for choosing an artist and who would you like to get who you haven’t been able to get yet? The basic requirement for an artist is to have enough work to fill a 160-page monograph. Other than that, I tend to work with artists I like (it always makes things easier) or that I feel fit well within the series. I see the CAS as a whole; so geographical, gender, generational and media variety is important. I have a long wish list of artists I would like to work with. So far, the majority of artists I have contacted were kind enough to accept our invitations. There are a couple of impossible dreams, but I am hopeful I will get there with time. As long as the CEO, the publisher, and the owners of Phaidon understand the importance of the CAS and give it their unconditional support, nothing is off the table.
What was your first big moment with art as a kid, and how did it made you feel? I grew up in a country where there is art anywhere to the extent that for a long time I almost took it for granted. I guess what made me gravitate towards contemporary art was the notion that it is art in the present tense. Pop Art was especially important as it elevated to art status subjects that reflected my surroundings. My background is theatre design. When I was a student I had no concept of what a contemporary artist was. It was a choice driven by the necessity of studying art with a practical outlet attached to it. It didn’t work out, but it gave me an appreciation for exhibition making and performance that otherwise I probably wouldn’t have. I started working at magazines like Contemporary and Flash Art. It was a fun time because magazines had prime access to an astonishing amount of information, and the responsibility of putting it out in a way that would paint a fair picture while resonating with the public’s expectations and appetite for education was enormous. I also organized exhibitions and edited some catalogues, which gave me a taste for book publishing. That’s how I ended up at Phaidon.
Did you ever make art yourself? Not really. I was in a few student shows when in college. I occasionally dabble in performance art when invited but I am happy with what I do. Contrary to the cliché, not all writers are frustrated artists! I never subscribed to the notion that some people are creative, and others just watch them create. Just as it’s important to make art and show it, it’s also important to talk about it.
To find out more about the books and artists in the Contemporary Artists Series, go here.
