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.

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.

Photographer Paul Weinberg recounts his career in documenting apartheid in South Africa, as a founding member of the Afrapix collective and alongside David Goldblatt.

An artist-to-artist conversation between Kevin Beasley and Mark Bradford, providing 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.