Untitled (Window with Helmets), 2012; From Remembered Light at Gagosian Gallery; Gelatin Silver Print, 8 x 10 inches; Edition of 5 The older you get as an artist the higher the risks of success. The more work that surrounds a career, the more likely that the entrapment of past production will constrict future work, tying us ever more tightly to our style, our themes, our aesthetic past. For example, when I was just starting out as an artist, I’d take pictures of anything, just for the sheer joy of seeing what it looked like as a photograph. Over time I began to take pictures of subjects that I had an opinion about, or of subjects that illuminated an intellectual concept that interested me. I don’t mean I was illustrating a polemic; I always defer to the imperatives of beauty, lyricism and the universal resonance of felicitous This story is from Kinfolk Issue Twenty-One Buy Now Related Stories Arts & Culture Issue 49 Checked Out Why is hotel art so boring? Arts & Culture Issue 49 Cult Rooms The history—and future—of Luna Luna Park. Arts & Culture Issue 49 Last Night What did gallerist Selma Modéer Wiking do with her evening? Arts & Culture Issue 47 Thanks, I Hate It How to give feedback to art friends. Arts & Culture Issue 46 Puff Piece On inflatable art. Arts & Culture Issue 44 Hannah Traore The art world's next big thing is a gallerist.
