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Long Story Short: In the Studio with Aidan Koch
Photo: Amanda Hakan On Aidan Koch’s cover for our Summer issue, six panels depict a woman lounging and reading and ruminating at the shore. Each panel exists both as a discrete event—here, she looks at...
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A Photographic Memory: In the Studio with Lorna Simpson
Lorna Simpson. Photo: Menelik Puryear After we summited the ridges high above Aspen in late July of this year, the artist Lorna Simpson and I finally had the occasion to speak at length. Simpson, in...
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Inside Dawn Clements’s Studio
Dawn Clements, Peonies, 2014. Photo: S. Alzner On a cold and rainy Sunday last autumn, I visited Dawn Clements’s studio in Greenpoint. Before it was converted into art studios, the building was a...
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Reading Upside Down: A Conversation with Rose Wylie
Rose Wylie, Hold the Right Rail, 2021, oil on canvas in two parts, 184 x 311 cm. Courtesy of the artist and David Zwirner. Rose Wylie, whose watercolor Two Red Cherries appears on the cover of the...
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Don’t Delete: A Visit with Billy Sullivan
Billy Sullivan’s studio. Photograph by Lauren Kane. Billy Sullivan’s studio, a fifth-floor walk-up on the Bowery, has a comfortable, elegant dishevelment. Hanging all around the space are some of the...
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The Distance from a Lemon to Murder: A Conversation with Peter Nadin
Peter Nadin’s exhibition “The Distance from a Lemon to Murder” is on view at Off Paradise until June 23. The painter Peter Nadin was born in 1954 near Liverpool, the son of a sea captain whose family...
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Infinite Dictionaries: A Conversation with Marc Hundley
Marc Hundley. Photograph by Na Kim. Marc Hundley, whose portfolio of posters appears in the Review’s Summer issue, first moved to New York City in 1993 to model for Vogue with his twin brother, Ian....
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LSD Snowfall: An Interview with Uman
Uman, Snowfall: winter in Roseboom #4, 2016–2020 (detail). The Paris Review‘s Winter issue cover, Snowfall: winter in Roseboom #4, by the artist Uman, looks from different angles like a field of...
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The Paris Review Print Series: Shara Hughes
Shara Hughes, The Paris Review, 2023, etching with aquatint, spit bit, soft ground, and drypoint on Hannemühle Copperplate bright white paper, plate size 18 x 14″, paper size 27 x 22″. Made in...
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