NEW YORK Pace For Dyson, the intervention of her touch on industrial materials produces “discursive refusals” that leads to new world building.
The Garden of Waste: A Conversation with Lucila Gradín
Lucila Gradín, who was born in Bariloche, Argentina, and now lives in Buenos Aires, develops her work around nature, specifically investigations into tinctorial and medicinal plants. Recently she has also been working with native plants that have all but disappeared.
Theaster Gates
NEW YORK New Museum Gates’s highly individual clay forms—some spiked and tall, some squat and shiny, bulbous, cylindrical, or drawn upward as narrow tubes—are an assembly of voices, each with its own sensual concentration of material density and un-mattered spirit.
William Corwin
MILLERTON, NEW YORK Geary Contemporary Boats are a staple of legend, both the tether binding us to a primordial aquatic ancestry and the ultimate peripatetic instrument.
This Changes Everything: A Conversation with Blue McRight
For Blue McRight, making art involves immersion in science and natural history; her inspirations range from arcane botanical illustrations to her personal experience as a scuba diver. Drawing from diverse sources, she has skillfully assimilated an amalgam of visual, cultural, and scientific ideas.
Beyond the Art/Science Duality: A Conversation with Ellen K. Levy
Ellen K. Levy, curator, scholar, and artist, directs her boundless curiosity through complex realms of science and technology. Where, she wonders, do the patterns and structures hidden within the natural world intersect with artistic creation? D’Arcy Wentworth Thompson’s Generative Influences in Art, Design, and Architecture: From Forces to Forms (Bloomsbury Press, 2021), which she co-edited
Progressive Destinations: A Conversation with Dawn DeDeaux
For multimedia artist Dawn DeDeaux, “between” is a place. Toggling media (video, performance, installation, sculpture), dimensions (two and three, object and experience), and time (past, present, and future), her work occupies spaces between things, ideas, and people.
Em Kettner
NEW YORK Chapter NY The women in Kettner’s images may or may not need assistance, medical or otherwise; they are nevertheless subjected to an audience of goggling eyes and pointing fingers.
Object Lessons: Lily Cox-Richard
“Weep holes” is such an evocative phrase. Many people aren’t aware of its architectural meaning. They might think of leaking orifices or crying eyeballs, which also work in terms of relieving pressure or finding equilibrium. I was thinking about this as an example of how energies flow through a space to heal and rebalance a
Mary Ann Unger
WILLIAMSTOWN, MASSACHUSETTS Williams College Museum of Art Unger’s intertwined roles as mother, activist, and curator, as well as artist, foreshadowed those of today’s cultural workers, who often juggle organizing, administration, and educational work in addition to art-making.
