Winter 2019 Issue
“Invisible Landscapes”


A Tangible History of the American South

Landscape has always been a foundational lens through which I interpret the world around me. As a product of the American South, I understood how landscape underscored my everyday experience and learned how natural materials hold a tangible history of lineage, labor, and land. My work reflects the role of landscape in the creation of Americana and how the natural environment is the central protagonist, not a backdrop, of everyday life.

In Conversation: Kevin Beasley and Mark Bradford

This conversation between Kevin Beasley and Mark Bradford, provides insight into two great creative minds at different stages of their careers. Originally published in the book Kevin Beasley, in tandem with Beasley’s first major museum exhibition at the Institute of Contemporary Art (ICA) Boston.

Dancing between Spectacular and Ordinary

Photographer Paul Weinberg recounts his career of documenting apartheid in South Africa. Alongside photographer David Goldblatt, Weinberg discusses the cultural climate around documentary photography with the group Afrapix, and his other series of indigenous peoples in light of apartheid.

Teaching with Contemporary Art

To Evoke Emotion

Art21 Educator Dennis Greenwell shares an exercise that encouraged students to explore and embrace emotional reactions to artwork.


For an art form so daring, defiant, and overwhelmingly public as graffiti, it is too often dismissed, ignored, and (in some cases) made invisible, disappearing into the barrage of visual information around it. Encompassing everything from large-than-life paintings to train tags or the scratching of one’s moniker into an air-conditioner grill, graffiti both animates and disrupts our landscape. This way of working was at the heart of Margaret Kilgallen’s practice.

Teaching with Contemporary Art

Landscape and Inquiry

Last year, when I watched for the first time the Art21 Extended Play film, "Julie Mehretu: Politicized Landscapes", I was overcome with its power and beauty. Mehretu is fearless in her confrontation of the past and present state of the country, and this film shows an artist making her voice heard through the work.

Black Mentifact

Cotton fields are clear in my memory—they often appear as a white haze in the distance—and visits back to Blytheville happened near harvest season in late August. In my mother’s family, no one spoke of the fields until I was older. It was a difficult image to picture; I know her as an “ain’t working outside in the heat” kind of woman, but perhaps her experience of working in the fields is the reason.