John Edmonds is a Brooklyn-based artist and photographer whose first monograph, Higher (Capricious, 2018), presents four series made between 2011 and 2018. Edmonds will sign copies of the publication at the New York Art Book Fair at MoMA PS1 at 4 PM on September 21 and will be in conversation with Jessica Bell Brown at the National Gallery of Art in Washington, DC, on September 23. Here, he discusses the origins of each series in the book and his aesthetic choices.

THE “IMMACULATE” SERIES marks my first intentional set of photographs. When I was making it, I was employing a language around color

Over the past year, artist Maria Gaspar has been leading workshops with a group of men at the Cook County Department of Corrections in Chicago’s Little Village neighborhood. Together, they have produced audio recordings and visual artworks that will be compiled into a digital animation and radio broadcast titled Radioactive: Stories from Beyond the Wall, 2018, which will be projected onto the compound’s north-facing wall for three hours after sundown on September 15 and September 16, 2018. Here, Gaspar discusses her related and ongoing 96 Acres Project, 2012–, and this new work.

WE WILL USE THE

Deborah Hay is a pioneering choreographer in the field of experimental dance and one of the founding members of the Judson Dance Theater. Below, Hay describes her work in the 1960s with the Cunningham Dance Company as well as with Judson—a moment that signaled for her both a departure from her formal training and a movement toward what would later become her signature practice. These words are reprinted from artforum.com’s 2012 package of interviews celebrating Judson’s fiftieth anniversary. For more from Hay and other participants in the revolutionary dance movement, visit the Judson feature

After his move to Paris from Los Angeles in 2005, writer Dennis Cooper’s words made the leap from the page to the stage and—more recently—to the big screen. Together with his collaborator, director/writer Zac Farley, he has created two films as disquieting and eloquent as the George Miles Cycle, the five novels—Closer, Frisk, Try, Guide, and Period—that brought Cooper acclaim as one of America’s singular and transgressive literary voices. Here, Cooper talks about the genesis of Permanent Green Light, his second feature with Farley, which premieres at the Film Society of Lincoln Center in New

The Los Angeles-based artist Jennifer Steinkamp’s Blind Eye, 1, 2018, a roughly three-minute-long animated loop, depicts a life-size grove of birch trees cycling through the seasons, their ocular scars delivering an uncanny, plural gaze. The video is included in a survey of the artist’s work at the Clark Art Institute in Williamstown, Massachusetts, titled “Blind Eye,” which comprises the first video installations shown at the museum and is on view through October 8, 2018. Here, Steinkamp talks about inspirations for “Blind Eye,” the limitations of vision, and learning to decide.

THERE’S A FEELING

“Sue Coe paints horror beautifully, ugliness elegantly, and monstrosity with precise sanity,” wrote Glenn O’Brien—RIP—in 1984 for the debut review of Sue Coe’s work in Artforum. The claim rings true today. Her anti-career career as someone “double-parked on the highway of life,” as she puts it, has been one of nonstop art as activism. “Graphic Resistance,” a survey of fifty works from the past forty years, is on view at MoMA PS1 in New York until September 9.

I MAKE ART FOR PEOPLE ON THE FRONT LINES. That’s my family: a community of activists who are not artists but who want to use art as a

Gradient horizons, retro computer graphics, and emojis figure prominently in the animated “fables” of the Hong Kong–based artist Wong Ping, who made his New York debut this past February in the New Museum’s triennial, “Songs for Sabotage.” Shortly after, his video Dear, Can I Give You a Hand?, 2018—involving an elderly character navigating the death of his wife, the allure of his daughter-in-law, a severe case of diabetes, and an afterlife in a computer server cemetery’s porn site—premiered in “One Hand Clapping,” which is on view at the Solomon R. Guggenheim Museum in New York until October

Maija Kurševa is an artist, publisher, lecturer at the Art Academy of Latvia, program director for the Riga Zine Festival, and, last but not least, cofounder of the artist-run LOW gallery in Riga, Latvia. Her work encompasses various media, from comics to sculptures, attending to recurring characters and themes with a sense of humor. “Investigation,” an exhibition of Kurševa’s recent work, is on view at kim? Contemporary Art Centre in Riga through September 2, 2018.

MY RECENT DRAWINGS stem from a poem I wrote one winter in the countryside outside Berlin. I took out words and left only a few; some

In just the past year, Elaine Cameron-Weir’s diverse sculptural practice has adroitly conscripted materials including chemical lab equipment, World War II–era silk parachutes, frankincense, and labdanum, as seen in her works at the New Museum in New York and the Dortmunder Kunstverein in Dortmund, Germany, among other venues. Below, she discusses her site-specific installation A toothless grin. A STAR EXPANSION! GLOBE OF DEATH A graveyard orbit, 2018, which is currently on view at Storm King Art Center in New Windsor, New York, as part of the sculpture park’s “Outlooks” series of solo exhibitions,

The Otolith Group’s latest video, O Horizon, 2018, comes out of a long-standing research interest in Rabindranath Tagore and his founding of Visva-Bharati, a school in Santiniketan, West Bengal, India, which was meant to be a living laboratory and an experiment in art, life, and craft. Here, the founders of the group, Kodwo Eshun and Anjalika Sagar, discuss their motivations for shooting on location and the Tagorean ethics that animate the work. O Horizon made its debut at the Rubin Museum of Art in New York, where it is currently on view through September 17, 2018. The work will travel to the

The London-based artist and filmmaker John Akomfrah has three solo exhibitions on view in the United States this summer: “Signs of Empire,” his largest US survey to date, is at the New Museum in New York through September 2, 2018; “Sublime Seas” is on view at the San Francisco Museum of Modern Art through September 16, 2018; and “Precarity” is at the Nasher Museum of Art in Durham, North Carolina, until September 2, 2018. Below, Akomfrah discusses his embrace of collage and the digital, and the timely thread of migration that runs throughout his work.

THE STRANGE THING about having three shows

This summer (and beyond), the East End of Long Island, New York, is a prime spot to experience the sculpture, installation, film, and drawing of Keith Sonnier. An extensive but not exhaustive survey, “Keith Sonnier: Until Today” at the Parrish Art Museum in Water Mill runs through January 27, 2019. Concurrently, the Dia Art Foundation’s Dan Flavin Art Institute in Bridgehampton has restaged, through May 29, 2019, Sonnier’s seminal environmental work Dis-Play II, 1970, which was first exhibited in the artist’s debut solo exhibition that year at the Leo Castelli Warehouse. Simultaneously, Tripoli