Julián Zugazagoitia: ‘Museums should generate interest and open a door ...
Since 2010, when Zugazagoitia joined the Nelson-Atkins Museum of Art, visitor numbers have soared. N...
Simon Patterson: ‘It’s about you filling in the gaps … the viewer co...
Simon Patterson talks about his show Safari: An Exhibition as Expedition, at the De La Warr Pavilion...
Harold Cohen: ‘I was probably the only person who considered the compute...
Pioneer of computer art Harold Cohen died last year at the age of 87. In 2015, in one of the last in...
Lluís Lleó: ‘It was important to me that the sandstone came from Spain...
Lluís Lleó talks about how, for his recent installation on Park Avenue, New York, he was inspired ...
Stephen Chambers: The Court of Redonda – Venice Biennale 2017
UK artist Stephen Chambers talks about looking for the extraordinary within the ordinary, about the ...
Marlie Mul: ‘It’s not a refusal. It’s that, basically, nothing was p...
Until the end of October this year, there will be no exhibition in Gallery 1 of Glasgow’s Gallery ...
Laura Youngson Coll: ‘The real catharsis was in the making process, beca...
Expanding on her fascination with the world of nature and natural sciences, Laura Youngson Coll has ...
Vic McEwan: ‘I played a paddle-steamer to an audience of 1,000 and used ...
The artist Vic McEwan talks about his project on the swan hoppers of the Murrumbidgee river in Austr...
Jesse Jones: Tremble Tremble – Venice Biennale 2017
Gender inequality was one of many human rights issues that artists wrestled with at the 57th Venice ...
Alexandra Dementieva: ‘All art is an interactive game. I am offering the...
Don’t come to Alexandra Dementieva’s exhibition with the hope of being a passive spectator. As s...
Evgenia Arbugaeva: ‘I’m always making up stories and believing in magi...
Russian photographer Evgenia Arbugaeva spins gold from the light of desolate places, finding beauty ...
Afruz Amighi: ‘I wanted to make a procession of characters that embodied...
In No More Disguise, Afruz Amighi’s first show of drawings, the New York-based artist discusses th...
Esther Rolinson: ‘Light has an immediacy. We are literally woken up by i...
The multimedia artist Esther Rolinson talks about her exhibition Gravitate at Watermans Art Centre, ...
Willow Hai: ‘The jade burial suit is the single most important object in...
The director of the China Institute in New York talks about its current show, Dreams of the Kings, a...
George Drivas: Laboratory of Dilemmas – Venice Biennale 2017
For the 57th Venice Biennale, Greek artist George Drivas offers his customary blend of architecture ...
Henri Scars Struck: ‘It was interesting for me to have a physical space ...
Henri Scars Struck, the French music composer known for his meditative sonic experiences, discusses ...
Jodie Carey: ‘I like my works to be imbued with a silence and a stillnes...
Jodie Carey talks about her developing practice, the impact of motherhood, her concerns with mortali...
Gregory Crewdson: ‘I wanted the photographs to feel like a suburban wind...
American photographer Gregory Crewdson talks about loneliness and connection in his work and, in par...
Tadaaki Kuwayama: ‘Here is only the art itself’
Japanese-born artist Tadaaki Kuwayama recounts his refusal to dictate how spectators should view his...
Samson Young: Songs for Disaster Relief – Venice Biennale 2017
Samson Young’s Venice Biennale collateral event for Hong Kong explores the disquieting cocktail of...
Jay Heikes: ‘I've always loved the reminder that the natural world has t...
Minneapolis-based artist Jay Heikes discusses his experimental approach to materials, the significan...
Abou Farman: ‘I want the tragic to become an acceptable space’
Abou Farman, who co-wrote Icaros: A Vision with Leonor Caraballo, talks about the film, which is bas...
Tom Phillips: ‘I’m still reading books. Nothing changes and everything...
Tom Phillips talks about his love of words, the human drive to make marks and the more spiritual sid...
![Joseph Kosuth. ‘Titled (A.A.I.A.I.)’ [colour] (O.E.D.), 1967. Mounted photograph, 122 x 122 cm. © Joseph Kosuth. Courtesy of the artist and Sprüth Magers.](/images/articles/k/099-kosuth-joseph-2017/smallpix/01-300.jpg)
Joseph Kosuth: ‘I was always interested in the limits of language and th...
On the occasion of his curated installation at Mazzoleni, Joseph Kosuth, the pioneer of conceptual a...
Jenny Crompton: ‘I enjoy sitting in the work for hours. It becomes a med...
Australian artist Jenny Crompton explains how she made her installation Sea Country Spirits, and tal...
Nathaniel Mellors and Erkka Nissinen: The Aalto Natives – Venice Biennal...
Mellors and Nissinen represent Finland at this year’s Venice Biennale. They discuss handmade puppe...
Greg Campbell: ‘I’d like people to get to know my friend a little thro...
Greg Campbell talks about his film Hondros, which premiered at the year’s Tribeca Film Festival, a...
Elger Esser: ‘Beauty is not important; it’s a logical result in my opi...
After his recent solo exhibition at Parasol Unit in London, Elger Esser talks about the relationship...
Georgia Horgan: ‘Confident, working women were a threat to the social or...
Georgia Horgan talks about her recent exhibition, All Whores are Jacobites, and how she became intri...
Mithu Sen: ‘I constantly change my mediums so the market will not be abl...
Indian artist Mithu Sen has a quicksilver practice that is difficult to categorise or maintain as a ...
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