• Lonnie Holley

    Lonnie Holley emerged as part of the American art world of the 1980s as a sculptor of evocative sandstone carvings and elaborate found object assemblage. More recently, Holley has expanded into sound with his albums Just Before Music (2012), Keeping a Record of It (2013), and Mith (2018). Below, on the occasion of a performance at the Dallas Museum of Art, as part of Soluna 2019, Holley explains the process of research and meditation that informs all of his creative work. Holley’s art is currently on view as part of “America Will Be at the DMA through September 15, 2019, and he continues to

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  • Sheila Hicks

    For over seven decades, Sheila Hicks has devised a diversity of forms in fiber from the perspective of painting and photography, including weavings, sculptures, architectural commissions, and monumental installations. Her abstractions triumph and transcend hierarchies of medium, gender, and geography. Pioneering contemporary art’s global turn, Hicks embraced opportunities in novel exhibition, manufacturing, and design contexts in Latin America, Africa, India, Japan, Israel, and Saudi Arabia, well before such engagement became the norm. Below, she reflects on her upbringing in the American Midwest

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  • Mary Miss

    Rosalind Krauss’s 1979 essay “Sculpture in the Expanded Field” pinpointed Mary Miss’s work as an example of how sculpture, landscape architecture, and architecture itself had become problematically entangled over the course of the postmodern 1970s. Forty years later, beyond the gallery, the discipline of sculpture has been transformed to include new genres, while recent generations of artists have joined Miss in the evolving expanded field. Here, Miss talks about the trajectory of her output and her nonprofit, the City as a Living Laboratory (CALL).

    I'M INTERESTED IN working at the scale of the

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  • Shu Lea Cheang

    The Taiwan pavilion at the fifty-eighth edition of the Venice Biennale is located at the Palazzo delle Prigioni, or the Prisons’ Palace, which was the city’s primary prison from the seventeenth century to 1922. Artist Shu Lea Cheang, who is representing Taiwan this year, takes up this historical context in her exhibition “3x3x6.” The title of the show refers to the standard architectural model of contemporary prisons worldwide, and her work on view examines subjects who have been incarcerated because of their gender or sexual nonconformity, beginning with the story of writer and Venetian adventurer

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  • Forensic Architecture

    The Triple-Chaser—a tear gas grenade banned in international warfare but routinely deployed by defense forces against civilians both stateside and abroad—is one of the many weapons manufactured by the Safariland Group, whose CEO, Warren B. Kanders, is the vice chair of the board of the Whitney Museum of American Art. Kanders’s ties to the New York institution have fueled heated protests in the run-up to this year’s Whitney Biennial, which opens May 17, 2019 (more than half of the exhibition’s artists have called for his removal from the board). Among the dissenters is Forensic Architecture, a

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  • Anna K.E.

    That harmony, like beauty, often comes from invention within repertoire and constriction is reflected in the Tbilisi-born artist Anna K.E.’s work, which is marked by the gestures of a ballerina and the design of a choreographer. For the Fifty-Eighth Venice Biennale, K.E. will bring together performance, video, sculpture, and hieroglyphs from Asomtavruli, the original Georgian alphabet, in a single architectural environment for the Georgian pavilion, curated by Margot Norton. Below, she discusses REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation, 2019, which will be on view

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  • Akosua Adoma Owusu

    The Ghanaian American filmmaker Akosua Adoma Owusu blends whatever she needs to make her point—including found footage, narratives, and pop culture—into films that are by turns surreal and confrontationally explicit in their meditations. Below, Owusu looks back on the first decade of her career, a milestone marked by two upcoming projects: “Between Three Worlds,” a screening of her work at REDCAT in Los Angeles on May 6, 2019, and “Welcome to the Jungle,” an exhibition at the CCA Wattis Institute for Contemporary Arts in San Francisco, which will be on view from May 9 through July 27, 2019. The

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    FOR THIS YEAR’S WHITNEY BIENNIAL, on view from May 17 to September 22, the Philadelphia-based artist Tiona Nekkia McClodden embarked on an ambitious journey to reconcile her artistic work with the spiritual work she undertook following her initiation into Santería/Lucumí, an Afro-Cuban religious practice developed by descendants of the Yoruba. McClodden’s project both mends and shatters, spiraling across the founding breaches of modern Western culture: the Euro-American colonization and enslavement of African peoples and the alienation of art from religion. It is a reminder that sometimes activism

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  • Ser Serpas

    The materials for Ser Serpas’s latest body of work were sourced locally from the streets of New York’s Lower East Side, where they will return at the end of her first US institutional solo exhibition. For Serpas, the show serves as both a homecoming and a farewell to the city she is leaving, after living there for six years, for Switzerland. “Against Attachment” opened April 25 and is on view through June 2, 2019 at Goethe-Institut Curatorial Residencies, Ludlow 38, in New York.

    FINDING OBJECTS AND RECOMPOSING THEM comprises a lot of my art, just going on walks and asking, “Is this anybody’s

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  • Christodoulos Panayiotou

    For the show “Emma Kunz: Visionary Drawings,” artist Christodoulos Panayiotou performed a role somewhere between those of a curator and a collaborating artist. Here, he speaks about his interest in Kunz’s pioneering abstract work and the questions that arose for him while participating in the exhibition’s development. The show is on view at the Serpentine Galleries in London until May 19, 2019 and will travel to the Muzeum Susch in Zernez, Switzerland, from July 26 to November 10, 2019.

    I INTUITIVELY DEVELOPED a fascination with Emma Kunz’s mythology before ever seeing a single drawing. I heard

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  • Patty Chang

    Well known for her fearless performances and wildly inventive narratives, the Los Angeles–based artist Patty Chang recently began listing her fears. This led to her soliciting other people’s lists of fears as well, which are related to other lists: One explores the range of a mother’s heightened sense of empathy; another imagines useful mechanisms designed to address, among other things, mental illness, existential distress, fear, and individual agency. These lists set the parameters for a new project that departs from Chang’s solo exhibition “The Wandering Lake, 2009–2017,” which was originally

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  • Zalika Azim

    In Zalika Azim’s recent work, layering is less an act of concealment than one of exposure. Her first solo exhibition, “In case you should forget to sweep before sunset,” features images that are physically placed atop one another or are superimposed to unlock manifold associations. Broader themes of dispersion, kinship, and survival are interleaved with intimate family histories. Below, the artist discusses images in the home and the limits and leverages of storytelling through photography. The show is on view at Baxter St at the Camera Club of New York through April 13, 2019.


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