Life and Art at Lincoln Center

Life and Art at Lincoln Center

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Celebrating the Performing Arts with Chief Artistic Officer SHANTA THAKE

Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that’s the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It’s New York’s biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people’s notion of Lincoln Center is because it’s a space that is very aspirational, which is a great thing.

The Politics of Collecting: Race & the Aestheticization of Property

The Politics of Collecting: Race & the Aestheticization of Property

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EUNSONG KIM Explains How Our Great Art Collections are Based on Debasing and Erasing Labor

I think through the ways in which you do not have the rise of the museum form... without the acceleration, the mutations of racial capitalism and settler colonialism. I'm really thinking about the ways in which art spaces, in particular cultural spaces... advertise themselves to be an exceptional site, a site that's removed from the world, but it's actually in those very spaces that you can so clearly see the ways in which the trenchant dynamics of racial capitalism, but also colonialism manifest.

The Art of Disruption with Pearl Lam

The Art of Disruption with Pearl Lam

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A Conversation with International Gallerist, Curator & Podcast Host

Today, the world is very divided, lots of fractures. It is the time for art and culture to come into play because art is about soft power. If we want to resolve misunderstandings, art is the best, best, best way to communicate. So use this.

JEAN-MICHEL BASQUIAT: The Making of an Icon

JEAN-MICHEL BASQUIAT: The Making of an Icon

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A Conversation with Author DOUG WOODHAM
Fmr. President of the Americas at Christie’s · Managing Partner, Art Fiduciary Partners

All of the great artists are there for a reason: because they rebelled in some way. They created a visual vocabulary that felt fresh and new, which excited people. So, the great artists are not built on sort of anthills of sand. They're built on things of substance and of meaning. Though this is not a sufficient condition to become an icon, it's a necessary but not sufficient condition. I think you have to have an interesting and vivid personality or personal narrative that makes you interesting for people to talk about and want to learn about. I think you also have to have a support network of galleries, curators, and collectors who are excited about your work and want to push it forward, not wanting it to be forgotten. Basquiat's visual vocabulary is distinctive and stands out relative to what was being done in the 1980s. That's the sort of strong hill on which his reputation is built. Basquiat benefited from being the first black artist of note who got pushed forward. As in many things, the first benefits.

Ai Weiwei's Turandot

Ai Weiwei's Turandot

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Everything is Art.
Everything is Politics.
I think art competes with reality. And art will give you the last words.
–AI WEIWEI

“We’re all voyeurs now"

“We’re all voyeurs now"

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ERIC FISCHL’s Couples explores the secret life of suburbia at SKARSTEDT PARIS
October 20 – December 6, 2025

Fischl’s work explores the darkness inside suburbia. Desire, betrayal, and the search for connection. The violence of privilege. What happens when you’re surrounded by everything and yet have nothing left to give one another? What happens when what you own ends up owning you? Autopsies of the American dream: the suburb as an emotional landscape. Roadsides, hotel rooms, beaches, private homes with the chlorine-scented promise of a swimming pool. They are places built for temporary perfection or maintaining an outward-facing image.

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MEMORY OF WATER

MEMORY OF WATER

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Artist MIA FUNK discusses her Creative Process

I feel my paintings are shaped by my life and the people I’ve met along the way. We’re all part of the same human story. And I’ve always loved learning and sharing with others. And hopefully, you can see echoes of this in the art. I love to dance. And try to write every day.
I grew up in an artistic community and like to blur the boundaries between disciplines because I believe that’s where creative ideas arise. These conversations have helped shape me. I’ve always been drawn to art that begins a dialogue. I want to express what I see and feel and share what others know about the world.

At the end of the day, for me, it’s about the search. How do we stay open and curious? And I believe that remains one of our great challenges. How do we hold on to that sense of wonder and remember that we live in a miracle that we are a part of, and that we have the ability to either nurture or destroy? And so many people that I’ve had the chance to speak with have held on to that sense of wonder, and what can be achieved individually and collectively with the life we’re given. You can hear it in their voices. You can see it in the projects they create and the way they inspire others. Somehow, they’ve managed to remain curious, which is at the heart of the creative process.

Between Presence and Absence

Between Presence and Absence

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JAMES TURRELL’s The Return Transforms Perception at PACE
Seoul · June 14 – September 27, 2025

Where does the edge of space end and your perception begin?
We don't see the world as it is, we see it as we are.
What if I could touch time? Turn light into matter?
Everything that is visible hides something that is invisible.
What would we see if we could return to the beginning?
Before presence and absence, before light and darkness, before sound and silence?

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How AI is Shaping Perception

How AI is Shaping Perception

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How Deception is Sculpting Our Reality
A Conversation with Artist · Geographer · Author TREVOR PAGLEN

At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I’m very privileged to have that be so much a part of my process.

Portraits of a Generation

Portraits of a Generation

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A Conversation with Photographer MARK HANAUER

I try to get people to stop, look, and think about what they are seeing, whether it's one of my portraits, a landscape, or a close-up of a flower. Design is important to me in my photographs, and my goal is to engage one's gaze and move it around and image, and hopefully tell a little abstract story within that moment.

Bridging Cultures

Bridging Cultures

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Connecting Brazil and China Through Art and Music
A Conversation with Curator · Philanthropist · Collector SARINA TANG

I think that, based on the fact that both Brazil and China are tied to my own roots, I understand a little more about the culture and history of both countries. About 15 to 20 years ago, I felt that I didn’t want to work just for income or to gain more fame. I felt I should do something meaningful for the rest of my life. Very few people from Brazil have ever been to China. This is why I brought a few Chinese artists from China to Brazil and from Brazil to China. That was my first experience doing some form of residency, but it was more than a residency. It was really for the Brazilian artists to learn more about China and its culture, and for some of the Chinese artists to learn more about Brazilian art and culture.

VILHELM HAMMERSHØI · SILENCE

VILHELM HAMMERSHØI · SILENCE

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Can silence be painted? How can artists capture interior states, solitude, and the passing of time? How are the homes we live in a reflection of the people who inhabit them? How can we read a painting to piece together the life of the artist?

CHIHARU SHIOTA

CHIHARU SHIOTA

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The Soul Trembles

The exhibition at the Grand Palais offers visitors a poetic immersion into her unique universe, where threads weave stories of human connection and the ephemeral nature of life. The visitor is taken on a journey into an ephemeral world where they are posed fundamental questions about life and death. The threads you follow are up to you, and each visitor must answer that question for themselves. Where are we going? Are you ready for the journey? What is a soul? What do you believe? Why did you go on this journey? What gives your life meaning?

The First Artist-Led Global Summit

The First Artist-Led Global Summit

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& The Future of Museums
A Conversation with NICOLA LEES · Director of the Aspen Art Museum

It's a complicated time to think about how we can slow down, be still, and bring a brilliant group of people together to do something that feels purposeful and can be productive. It's a moment where things are moving so fast. When I brought up the idea of a hinge generation, I think it's impossible to know how we will look back and reflect on this time and these moments. This year, there is a real emphasis on the relationship between the question we have posed for the retreat, which is fundamentally about our relationship with technology and identifying our relationship with the world and how we want to be present in the moment.

From Venice Biennale to the Pritzker Prize

From Venice Biennale to the Pritzker Prize

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Conversation with MANUELA LUCÁ-DAZIO Exec. Director · Pritzker Architecture Prize
Fmr. Exec. Director · Venice Biennale · Dept. of Visual Arts & Architecture

When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.

Setsuko Klossowska de Rola

Setsuko Klossowska de Rola

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Kingdom of Cats

How do we, as humans, balance our biological necessities and the inorganic industry we have created? How do we reckon with our animal natures and our intricate consciousnesses?

Play

Play

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A Conversation with Artist DELPHINE LEBOURGEOIS

Nature was very much part of my upbringing. I spent most of my teenage years exploring the surroundings of my grand-paren’s house in rural Auvergne. A few years ago, I did an installation where I placed large cardboard cutouts of my Amazonians in a remote forest in France. The installation was hidden, away from touristic trails and not signed posted. I wanted passers by to see it by chance rather than people searching for it. The cut outs were made from recycled cardboard so extremely fragile and prone to quick degradation. The project had to be ecological and ephemeral.
Art about nature or in nature holds a particular place for me. I remember loving “My Back to Nature” the exhibition by George Shaw at the National Gallery in London, and more recently got the same awe whilst visiting “Light into Life” by Mark Quinn at Kew Gardens.
Sustainability is important but paradoxically beauty is everywhere… in decay, in a plastic bag stuck in a tree, even in garbage. This is why I liked George Shaw’s exhibition so much. He painted woodlands with traces that humans have left behind. Dirty mattresses, soiled duvets hanging from branches. His mastery as a painter made the objects nearly sacred. I don’t think art should be sanitised.

Time, Memory & the Search for the Sublime

Time, Memory & the Search for the Sublime

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A Conversation with Artist ISCA GREENFIELD-SANDERS

Traditionally, landscape painting has played up man’s insignificance as it compares to nature. Today, the extraordinary effect humans have had on climate and the landscape has swapped that dynamic, casting us as the danger. That is a massive shift. When I started to learn art history, I connected deeply with the notion of the sublime. I was especially moved by Turner’s landscapes. When I was 11, my family got caught in a lightning storm on the beach in Miami. It was scary but incredibly beautiful, like being inside a painting by Constable, Turner, or Homer.

VILHELM HAMMERSHØI · SILENCE

VILHELM HAMMERSHØI · SILENCE

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Can silence be painted? How can artists capture interior states, solitude, and the passing of time? How are the homes we live in a reflection of the people who inhabit them? How can we read a painting to piece together the life of the artist?

Colony of Ghosts

Colony of Ghosts

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CELIA PAUL at Victoria Miro Gallery, London
March 14th to April 17, 2025

My young self and I— we are the same person. I can stretch out my old hand— with its age spots— and hold my young unblemished hand.