Interviews

Interviews You'll Talk About

The Essentials With Eva Chow: Seoul Forest Strolls, Korean Hair Spas and Olive Oil

The Khee Soju founder shares the quiet routines, beauty rituals and favorite places that shape her life in Seoul.

By Kristin L. Wolfe

How Tom Gilleon Turned a Genre of Nostalgia Into One of Invention

Now in his mid-80s and still painting daily from his Montana ranch, he has spent decades stripping Western art down to color, form and light.

By Christa Terry

How Collectors Bob and Jane Clark Turned Collecting into Community Building

Early acquisitions of works by Theaster Gates, Derrick Adams and Rashid Johnson came before those artists' markets fully developed, reflecting the couple's longstanding support for emerging talent.

By Elisa Carollo

At 50, Pittsburgh’s Mattress Factory Still Says Yes to Artists

By Elisa Carollo

Cj Hendry, Price Laddering and a New Collecting Model for the Kidulting Economy

By Elisa Carollo

David Norr Says He Measures Artists’ Careers in Decades, Not Market Cycles

By Dan Duray

Learning Commons President Sandra Liu Huang on Leading Nonprofit A.I. Push in Schools

By Sissi Cao

Portland’s Homegrown Triennial Returns With Outside Curation and Hyper-Local Soul

By Elisa Carollo

Reid Walker On the Infrastructure Gap Holding Back Native American Art

By Elisa Carollo

Ali Banisadr On Turning the Buffalo AKG’s Wilmers Building Into a World of His Own

By Scott Drevnig

Photographer Steven Seidenberg On Capturing Temporality and Decay

By Xinyi Ye

For 10 Years, Desert X Has Let the Rift Valley Landscape Do the Curating

By Elisa Carollo

Collector Amanda Precourt Skipped the Vanity Museum to Give Denver a Community Art Space

By Elisa Carollo

FEMSA Has Spent 50 Years Building a More Complete Record of Latin American Art

By Elisa Carollo

The Icy Gays Built a Collection By Cultivating Relationships—and Ignoring Market Hype

By Elisa Carollo

Catherine Opie’s Norwegian Landscapes Are Portraits in Disguise

By Sarah Moroz

The Founding Director of Mathaf Returns to Doha for Art Basel Qatar’s Second Edition

By Dan Duray

Thomas Houseago Makes Ancient Objects Speak to Our Violent Present

By Elisa Carollo

Shezad Dawood’s “Skin of Dreams” Looks Forward as Well as Back

By Elise Morton

Inflection AI’s Second Act With CEO Sean White

By Sissi Cao

Ho Tzu Nyen Wants the Gwangju Biennale to Honor the Past, Not Relive It

By Elisa Carollo

Grey Art Museum’s Alison Weaver On the Breadth of the University Museum Mandate

By Dan Duray

Grażyna Kulczyk Has Spent 50 Years Collecting Artists Who Were Difficult to Place

By Sarah Moroz

In Gherdëina, Curating a Biennale Around the Politics of the Garden

By Jelena Sofronijevic

Interviews You'll Talk About

The Essentials With Eva Chow: Seoul Forest Strolls, Korean Hair Spas and Olive Oil

How Tom Gilleon Turned a Genre of Nostalgia Into One of Invention

How Collectors Bob and Jane Clark Turned Collecting into Community Building

At 50, Pittsburgh’s Mattress Factory Still Says Yes to Artists

Cj Hendry, Price Laddering and a New Collecting Model for the Kidulting Economy

David Norr Says He Measures Artists’ Careers in Decades, Not Market Cycles

Learning Commons President Sandra Liu Huang on Leading Nonprofit A.I. Push in Schools

Portland’s Homegrown Triennial Returns With Outside Curation and Hyper-Local Soul

Reid Walker On the Infrastructure Gap Holding Back Native American Art

Ali Banisadr On Turning the Buffalo AKG’s Wilmers Building Into a World of His Own

Photographer Steven Seidenberg On Capturing Temporality and Decay

For 10 Years, Desert X Has Let the Rift Valley Landscape Do the Curating

Collector Amanda Precourt Skipped the Vanity Museum to Give Denver a Community Art Space

FEMSA Has Spent 50 Years Building a More Complete Record of Latin American Art

The Icy Gays Built a Collection By Cultivating Relationships—and Ignoring Market Hype

Catherine Opie’s Norwegian Landscapes Are Portraits in Disguise

The Founding Director of Mathaf Returns to Doha for Art Basel Qatar’s Second Edition

Thomas Houseago Makes Ancient Objects Speak to Our Violent Present

Shezad Dawood’s “Skin of Dreams” Looks Forward as Well as Back

Inflection AI’s Second Act With CEO Sean White

Ho Tzu Nyen Wants the Gwangju Biennale to Honor the Past, Not Relive It

Grey Art Museum’s Alison Weaver On the Breadth of the University Museum Mandate

Grażyna Kulczyk Has Spent 50 Years Collecting Artists Who Were Difficult to Place

In Gherdëina, Curating a Biennale Around the Politics of the Garden

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