Editing
Image description: A hardback exhibition catalogue whose surface is covered in a canvas-colored cloth. The cover is stamped in gold with the title “Pardo é Papel.”
Maxwell Alexandre (2022)
Brazilian artist Maxwell Alexandre presents paints collective portraits celebrating the empowerment, self-esteem, and prosperity of Black people on large-scale paper surfaces. As project editor for the catalogue for his first North American solo exhibition, Pardo é Papel: The Glorious Victory and New Power, I shepherded texts from exhibition curator Alessandra Gómez, scholar Tina M. Campt, and Shed senior program adviser Hans Ulrich Obrist, as well as from the artist. The book was designed by Renata Graw and Lucas Reif at Normal studio.
Image description: A blue background with a pyramidal-spiral design by Agnes Denes in silver.
Agnes Denes: Absolutes and Intermediates (2019)
I worked on the team that made this book, a catalogue accompanying the retrospective of Agnes Denes’s work at The Shed. The catalogue (The Shed, 2019) includes a comprehensive text by the exhibition's curator, Emma Enderby, an interview with Denes by Hans Ulrich Obrist, essays by prominent scholars and curators including Caroline A. Jones, Lucy R. Lippard and Timothy Morton that examine Denes’s multifaceted practice in new ways, writings by the artist and reflections by curators who have worked with Denes over the course of her career. New works by Denes commissioned by The Shed for the exhibition are presented in a special insert.
Image description: A book opened to a center spread to display three images of artworks by Tomás Saraceno. In the images is a hot air balloon stitched together from repurposed plastic bags that flies free from fossil fuels.
Tomás Saraceno (2022)
In a call for environmental justice, Tomás Saraceno collaborates with human and nonhuman communities that have been negatively impacted by the Capitalocene to renew relationships with Earth, the air, and the cosmos, particularly as part of his community projects, Aerocene and Arachnophilia. I served as project editor and edited the texts in the catalogue for The Shed’s exhibition Tomás Saraceno: Particular Matter(s). Contributors include Emma Enderby, Studio Tomás Saraceno, Vinciane Despret, Michael Marder, Andreas Malm, Hans Ulrich Obrist, Filipa Ramos, and Harriet Washington.
Image description: A screenshot of a page from The Shed’s website. A carousel of clickable cards show the introductions to a series of interviews with Shed artists.
Digital publications at the shed
At The Shed, in addition to print publications, I've developed and edited digital publications including a “Between Artists” series of conversations with Open Call artists including Emilie Gossiaux and DonChristian Jones, an interview with Cecily Strong, essays contextualizing Claudia Rankine's play Help, an online feature visualizing the entanglements of Tomás Saraceno's various projects, and more.
Image description: A dark gray book cover with Farsi text in lighter gray script centered.
Nazgol Ansarinia (2021)
Artist Nazgol Ansarinia’s work examines how structures and systems divide up private and public space, in particular in her native Tehran. I edited the texts in a monograph on her work (Green Art Gallery/Hatje Cantz, forthcoming 2021) including essays by Media Farzin and Hamed Khosravi, an interview by Maria Lind, and an appendix with images and text by the artist about her working process.
Carolee Schneemann and James Tenney, Night Crawlers, 1967. [Image description: A balck-and-white photo of Schneemann and Tenney performing togeter, standing at arms length with arms outstretched and touching to form a bridge between them.]
Alison Knowles with Carolee schneemann
The morning after Carolee Schneemann’s death in March 2019, and by coincidence, the Brooklyn Rail published this conversation between she and Alison Knowles, edited by me. The two legendary artists had met at Knowles’s Manhattan loft the previous October to discuss Fluxus, feminism, and life with partners, friendships, families, and art.
Image description: An animated gif of the cover and two internal spreads of the catalogue Howardena Pindell: Rope/Fire/Water.
Howardena Pindell (2020)
Organized by Adeze Wilford, the exhibition Howardena Pindell: Rope/Fire/Water examines the brutal legacy of racism in the United States and the healing power of art. I copy edited and managed editorial production of the catalogue (The Shed/Koenig Books, 2020), which includes an essay by the curator, interviews with Guggenheim assistant curator Ashley James and Hans Ulrich Obrist, and writings by Pindell, along with images of new paintings and stills from a video work made for the exhibition.
Image description: A screenshot of the the Art Books section of the Brooklyn Rail in March 2018, including four reviews with headlines, bylines, blurbs, and images of book covers.
Art books in review
I was the senior editor of the Art Books in Review section of the Brooklyn Rail between December 2016 and April 2018. Check out my penultimate issue in March 2018 and other back issues in the archive.