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Interviews by Brainard Carey
Hosted by Brainard Carey · EN
Lives of the most Excellent Artists, Architects, Curators, Critics, Theorists Poets and more, like Vasari’s book updated. (Interviews with over 1200 artists and others about practice and lifestyle from Yale University radio WYBCX)
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Nick Fusaro
3w ago00:21:02Tap to summarizeNick Fusaro (b. 1989) is based in Brooklyn, NY. He received his MFA in Sculpture from Hunter College in 2022 and his BFA in Sculpture from Pratt Institute in 2012. His sculptural practice combines humble materials, collections, and iteration to emphasize the effects of memory on lived experience. Fusaro also studied at the Gerrit Rietveld Academie in 2011 and is the founder of Three Four Three Four, an artist-run gallery in New York. He has shown at Gordon Robichaux (Manhattan, NY ), Parent Company Gallery (Brooklyn, NY), Marwan (Amsterdam, Netherlands), Jupiter Woods (London, UK), Fisher Parrish (Brooklyn, NY), Strobe Gallery (New York, NY) and Long Story Short (New York, NY). Fusaro has made a habit of drafting new artworks behind a character or archetype when ideating. In this instance, as the exhibition’s title suggests, he has poised himself as The Foreman. The Foreman is an overseer. He doesn’t design or create plans, he simply executes them. He is the figure at the helm of process, navigating projects from renderings to realities. Imagined in the shape of a clown, the character of The Foreman is featured prominently in a panel at the gallery’s back wall, overseeing the exhibition like a construction site. His authority is subtly undercut by his choice of dress, and the delicate safety pin that holds him to the wooden panel. His intention, ability, and capacity are in question, but nevertheless, for better or for worse, it’s The Foreman who is in charge. Foreman, 2026, 48″ x 48″ (122cm x 122cm) Aluminum Roofing Paint, Felt, Nickel Tacks, Graphite on paper, safety pin, on panel A Dozen Plus Three, 2026, 23.5″ x 16″ x 4″ ( 60cm x 40cm x 10cm ) Silk-velvet, poplar, aluminum foil The One Through the Clumsy Hole, 2026, 32″ x 22″ x 18.5″ ( 81cm x 56cm x 47cm ) Poplar, Pine, Plywood, Roofing Nails, Aluminum Roofing Paint, Chestnuts, Railroad Ties, Wire, Custom Plywood Pedestal Nodules (N_5), 2026, 19″ x 8″ x 8″ ( 48cm x 20cm x 20cm ) Polyester Resin, Epoxy Resin, Insulation Foam
Transcribe →Adelisa Selimbašić
3w ago00:23:32Tap to summarizephoto by Karla Del Orbe. Adelisa Selimbašić (b. 1996) is an Italian-Bosnian artist living and working in New York. In 2021, she graduated from the Venice Academy of Fine Arts with a Master’s in Painting. Her pictorial research aims to imagine a world in which the sense of inadequacy does not exist, opening to a nonconventional perception of the body. Through scenes drawn from everyday life and an essential figurative approach, the artist reinterprets the idea of femininity, focusing on the complexities of human experience, desire, tension, and the need for physical contact. Her practice is based on a dense and almost tactile painterly presence, achieved through careful manipulation of color: working with a contained palette, Selimbašić mixes pigments directly on the canvas, allowing the tones to meet and transform, pushing toward a plasticity that challenges traditional representations of the female body. In recent years, she has presented numerous solo exhibitions in institutional and international gallery contexts. Among her most recent solo exhibitions: When we become each other, curated by Rebis Rebis (Delfina Pattacini and Gaddo Amunni), Lubov Gallery, New York (2026); The Dancefloor, curated by Michele Spinelli, z2o Sara Zanin, Rome (2026); For My Eyes Only, Manifesto Gallery of Contemporary Art, Sarajevo (2025); The Space in Between, curated by Delfina Pattacini, Tommaso Calabro Gallery, Milan (2025); Dust Bunny, curated by Michele Spinelli, z2o Project, Rome (2024); Why Is It So Hard to Declare Yourself?, Galleria Ipercubo, Milan (2023); In parallel, Selimbašić has participated in numerous group exhibitions in Italy and abroad. installation view Where we become each other, Lubov gallery, curated by Rebis Rebis (Delfina Pattacini and Gaddo Amunni), New York Tanisha, 2026, oil in canvas, 14x 16 inches Bay,2026, oil in canvas, 14×16 inches  
Transcribe →Giulio Noccesi
May 2200:19:47Tap to summarizeGiulio Noccesi by Ethan James Green Giulio Noccesi (b. 1996, Florence, Italy) is a painter based in Turin, Italy. He has participated in group exhibitions at Minor Gallery, Copenhagen, DK (2025); Monti8, Rome, IT (2024); Candysnake Gallery, Milan, IT (2024); and D Contemporary Gallery, London, UK (2023). He received a degree in Printmaking from Fine Arts Academy, Florence in 2018. “In Maurilia, the traveler is invited to visit the city and, at the same time, to examine some old postcards that show it as it used to be: the same identical square with a hen in the place of the bus station, a bandstand in place of the overpass, two young ladies with white parasols in the place of the munitions factory. If the traveler does not wish to disappoint the inhabitants, he must praise the postcard city and prefer it to the present one…” – Italo Calvino In Italo Calvino’s novel Invisible Cities, Marco Polo recounts his explorations along the Silk Road to the emperor Kublai Khan, each chapter detailing its own city. Calvino’s non-linear, combinatory prose asks us to think beyond the borders that separate cities, presenting metaphysical themes that are specific to each place described, yet which permeate the text as a whole. We are implored to consider the relationship between history and memory; above all, we must consider how ideas take shape across chapters to form a composite aesthetic experience. The paintings on view in Fermo per sempre make a similar demand of the viewer. Like Calvino’s postmodern cartography, Giulio Noccesi’s paintings construct a subjective map of his native Italy, an intricate network of isolated yet interrelated scenes. Each painting is simultaneously autonomous and contingent, an intimate, self-contained reflection of his life and a reference to the Italian art historical canon that animates his compositions. Giulio Noccesi, La tua ex con un altro (Your ex with someone else), 2024. Oil on canvas, 19.75 x 19.75 in (50 x 50 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY. Giulio Noccesi, Paesaggio di campagna (Countryside landscape), 2025. Oil on canvas, 15.75 x 11.75 in (40 x 30 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY. <img loading="lazy" decoding="async" class="size-large wp-image-16488" src="https://museumofnonvisibleart.com/interviews/wp-content/uploads/2026/05/Renault-Scenic-1021x1024.jpg" alt="" width="696" height="698" srcset="https://i0.wp.com/museumofnonvisibleart.com/interviews/wp-content/uploads/2026/05/Renault-Scenic.jpg?resize=1021%2C1024&ssl=1 1021w, https://i0.wp.com/museumofnonvisibleart.com/interviews/wp-content/uploads/2026/05/Renault-Scenic.jpg?resize=300%2C300&ssl=1 300w, https://i0.wp.com/museumofnonvisibleart.c...
Transcribe →Johanna Calle
May 2000:25:08Tap to summarizeJohanna Calle was born in 1965 in Bogotá, where she lives and works. Following her studies in the visual arts at the Talleres Artísticos of the Universidad de los Andes in Bogotá from 1984 to 1989, Calle received a British Council scholarship in 1992 to earn a master’s degree at the Chelsea College of Art and Design in London. Her work draws on a range of archival and deciphering techniques, often associated with everyday life, to address the violence of recent Colombian history and evoke the victims of forced disappearances. Johanna Calle has been honored with numerous prestigious awards, including major prizes and honorary recognitions in Colombian art salons (1996–2003), a fellowship at the Cité Internationale des Arts in Paris (2001), and international grants and residencies in Europe and the United States (2008–2013). She has been included in international biennials such as the Sydney Biennale (2016), the São Paulo Biennial (2014), SITE Santa Fe (2014), and the Istanbul Biennial (2014). Selected exhibitions include Arquitecturas, Bienvenu Steinberg & C, New York (2026); Museum of Contemporary Art Denver (2024); Hayward Gallery (2020); Josée Bienvenu Gallery, New York (2019); La Maison de l’Amérique latine, Paris (2017); Museum of Modern Art (2017); Silentes 1985–2015, Museo de Arte del Banco de la República, Bogotá, traveled to Museum Amparo, Puebla, Mexico (2015); Fondation Cartier pour l’art contemporain (2013); the Drawing Room, London (2013); Wattis Institute for Contemporary Arts in San Francisco (2012); Museum of Latin American Art in Long Beach, California (2012); Sàn Art in Ho Chi Minh City, Vietnam (2012); and San Francisco Museum of Modern Art (2011). Her work is included in institutional collections such as the Museum of Modern Art; Tate Modern; San Francisco Museum of Modern Art; Museum of Modern Art, Buenos Aires; Fondation Cartier pour l’art contemporain; Museum of Fine Arts, Houston; Museum of Latin American Art, Long Beach; Museum of Bogotá; National Museum of Colombia, Bogotá; National Bank of the Republic of Colombia, Bogotá; Cisneros Fontanals Art Foundation, Miami; Sur Collection, San Francisco; Comfenalco Antioquia, Medellín; Enersis Collection, Santiago; and Teorética Museum, San José. Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image) Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image) Johanna Calle Abstractas, 2026 Signed and dated on the back Erased found chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 6 in (image)
Transcribe →Anna Johnson
May 2000:23:19Tap to summarizeAnna Johnson studied English, Australian literature and Fine Arts at the University of Sydney graduating with a bachelor of arts in 1987. The following year she was appointed Art Editor of Interior Design magazine. Since then, Johnson has been a professional art writer and author contributing to Vogue (UK and Aus), Vanity Fair, Conde Nast Traveller, The Sydney Morning Herald and as a senior arts writer for Artist Profile Magazine. She is the author of several monographs and has been a critic for both television and radio. Holding many detailed artist interviews, provided an immersion in contemporary art three decades deeper than a conventional art school education. Raised in New York in the early 70s, time in her father’s loft studio on the Bowery, as well as the artist enclaves at Max’s Kansas City and Fanelli’s Bar in Soho had a formative impact. Making the gallery rounds each Saturday as a small family, laid the foundations of a lexicon steeped in both Colour Field and Lyrical abstraction. Establishing her own full time studio practice in 2017, three solo shows in Sydney followed, including a museum show at the NERA Museum in Australia. Johnson’s distinct griffe strikes a different chord to the dominant animism of Australian painting. Seven visits to Japan over the last decade, inspired her austere and symbolic use of space. The subtle rituals and expansive space within Heian screens, and calligraphy have been fused to a hyper-sensual use of colour. Her consuming project ongoing are the ‘Nymphaea Nymphaea’ paintings, works that speak directly to the expansive and progressively minimal paintings of the late and post-Impressionists. As her works grow larger and more complex the scope of creating an entire environment without spatial periphery is approached. Anna Johnson, Beau Rivage, 2026, Oil stick and acrylic on linen, 78 3/4 x 72 7/8 in | 200 x 185 cm © Anna Johnson. Photo: Morgan Waltz / Off Photography Anna Johnson, Nuage et Vide, 2026, Acrylic on linen, 78 3/4 x 70 7/8 in | 200 x 180 cm © Anna Johnson Photo: Morgan Waltz / Off Photography Anna Johnson, Tohji, 2025, Oil stick and acrylic on linen, 60 1/4 x 54 in | 153 x 137 cm © Anna Johnson. Photo: Morgan Waltz / Off Photography  
Transcribe →Bat-Ami Rivlin
May 1300:19:45Tap to summarizeBat-Ami Rivlin is a New York-based sculptor working primarily in found and surplus objects. Notable exhibitions include Boat, Plastic, Tire, L21, Spain (2023-24); Simple Sabotage, Kunsthal NORD, Denmark (2023-24); The Socrates Annual, Socrates Sculpture Park, NY (2023-24); COLAPSO, Tenerife Espacio de las Artes, Spain (2022); EN-SITIO, Museo de la Ciudad de Querétaro, Mexico (2022); whereabouts, Hessel Museum of Art, CCS Bard, NY (2022); No Can Do, M23, NY (2021); and more. Rivlin’s work was featured in publications such as Artforum, BOMB, Brooklyn Rail, Flash-Art, Emergent magazine, Artnet, PIN-UP, Office Magazine, The Paris Review, Public Parking, and more. Rivlin holds an MFA from Columbia University. She is the recipient of the Monira Foundation Residency, Sculpture Space Residency, Socrates Sculpture Park Fellowship, A.I.R. Gallery Fellowship, among others. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky.
Transcribe →Jessee Egner
May 1300:23:24Tap to summarizeJesse Egner is a queer artist and educator based in Brooklyn, New York. Often taking the form of playful and absurd photographic portraiture of himself and other individuals, his work explores themes such as queerness, body image, relationships, collaboration, and humor. He received his BA from Millersville University of Pennsylvania in 2016 and his MFA from Parsons School of Design in 2020. His work is included in the permanent collection at the Kiyosato Museum of Photographic Arts, and has been exhibited and published globally. He is a NYSCA/NYFA Artist Fellowship recipient and has participated in residencies at the Santa Fe Art Institute in Santa Fe, New Mexico; Bunnell Street Arts Center in Homer, Alaska; Studio Vortex in Arles, France; Yaddo in Saratoga Springs, New York; the Vermont Studio Center in Johnson, Vermont; TILT Institute in Philadelphia, Pennsylvania; and the Saltonstall Foundation in Ithaca, New York. His solo exhibition, “I Want to See How Things Play Out,” which was previously exhibited at Blue Sky Gallery in Portland, Oregon in June 2025, will be opening at Flow Space Gallery in New York City on June 11th. Mirrored Hold, 2020, 24 x 30 inches, archival pigment print Lite Brite, 2021, 37.5 x 30 inches, archival pigment print OK Hooker (Hooker, Oklahoma), 2022, 30 x 24 inches, archival pigment print
Transcribe →Nicola Tyson
May 500:19:32Tap to summarizeNicola Tyson was born in 1960 in London, England. She attended Chelsea School of Art, St. Martins School of Art and Central/St. Martins School of Art in London, and currently lives and works in New York. Primarily known as a painter, Tyson has also worked with photography, film, performance and the written word, in addition to running Trial BALLOON, an NYC project space in the early 90s. In 2023, Nicola Tyson: Selected Paintings 1993-2022, the most comprehensive overview of the artist’s work to date, was published. In 2011, Tyson released the limited-edition book Dead Letter Men, which is a collection of satirical letters addressing famous male artists. Her unique archive of color photos documenting the London club scene of the late 1970’s — Bowie Nights at Billy’s Club — was the subject of shows, both in New York and London, in 2012 and 2013. In 2025, Tyson was commissioned for Hayward Gallery’s public project banner. Tyson has mounted solo exhibitions at Petzel Gallery, New York (2026, 2025, 2024, 2020, 2016); Nino Mier Gallery, Los Angeles (2024); Nino Mier Gallery, Brussels (2022); Sadie Coles HQ, London (2021, 2017, 2013); The Contemporary Art Museum St. Louis, St. Louis (2017); The Drawing Room, London (2017); Nathalia Obadia, Paris (2015); Susanne Vielmetter Gallery, Los Angeles (2014); White Columns, New York (2012), among others. She has participated in group exhibitions at the Design Museum, London (2025); The Modern Art Museum of Forth Worth, Fort Worth (2022); Art Institute of Chicago, Chicago (2021); Drawing Room, London (2021, 2018); Drawing Center, New York (2020); Whitechapel Gallery, London (2018); Cleveland Institute of Art, Cleveland (2016); Wexner Center for the Arts (2013); and Museum of Modern Art, New York (2012); among others. Tyson’s work is included in major collections such as Museum of Modern Art, New York; Whitney Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Corcoran Gallery of Art, Washington, D.C.; and Tate Modern, London. Nicola Tyson, Random Attachments, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Nature Nurture, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Motherload, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.
Transcribe →Christina Kruse
Apr 2900:18:46Tap to summarizeChristina Kruse, the New York-based artist whose practice navigates the shifting terrain of value, perception, and collective meaning, opens her latest solo exhibition Field Agents this April 2nd, 2026 at New Discretions. Curated by Tamar Dresdner, the exhibition unfolds as a study in instability – where systems of belief are unsettled and reassembled in response to a world in flux. Working across sculpture, wall relief, and collage, Kruse positions negotiation not as resolution, but as a condition of existence – an ongoing recalibration between competing truths. Bruchlinien (Fault Lines), 2026 Bedingter Anspruch (Contingent Claim), 2026 Der Erbe (The Heir), 2026 Der Porter (The Porter), 2024
Transcribe →Giordanne Salley
Apr 2800:18:15Tap to summarizeIn this new body of work, Giordanne Salley constructs shifting tableaus that attempt to visualize not time itself, but the feeling of the passage of time. Our experiences of life can often feel like we are riding along on time’s arrow. Days repeat and build like the rhythm of waves lapping at the shore. Each tide brings forth trash and treasures, bits of flora and fauna, before the lunar cycle pulls them back out to sea. So too does one’s conscious experience of life move through time, accumulating, folding in on itself, and gradually building into the future. Ripples and corrugations form over Salley’s images, diffracting their shapes into myriad frames. Like peering at the bottom of the sea through the waves, we see the subjects dance in the minute turbulence. In pieces like Endlings, these scenes verge on abstraction. Though semi-psychedelic in their optical qualities, Salley’s paintings are rooted in the natural world. Animals and human forms bathe in the undulations, adding a moment of specificity while also acting as a tether to reality and a reminder that these patterns depict the fluctuating surface of water. Coursing through glowing layers of energy, works like Infinity Loon pair discernible imagery with vibrating geometry. The waterfowl, leaving a wake in the paint behind it, upsets the lines and creates a cascading pattern that echoes toward the edges of the frame. Though often based around real-world subjects, in these new works, Salley does away with the horizon line in an effort to flatten the surface and invoke a feeling of the infinite. Repetitive and continuous, her lines and patterns are full of potential as they press onward and outward. Finding her color by applying paint in numerous thin layers, Salley works around predetermined lines, building up meditative markings of the hours spent. With every new application, the image grows richer. The use of collage and underdrawing affords each canvas a nuanced texture, both physical and visual. In Time Flows, Salley combines these elements as “a sort of scaffolding to hang the painting on or around.” Intense investigation rewards the viewer with subtle glimpses into the artist’s process. Each piece becomes a palimpsest, offering ghostly reminders of the past that push through to the final image. At the heart of all of this is a potent rumination on universal themes through the lens of Salley’s own subjectivity. Like time, so too do ideas of love, loss, and memory ebb and flow infinitely like the tides. Slipping through fingers like the ocean in our hand, the present is instantaneous and always on the way out. Salley slows down these moments, capturing them in paint and offering a moment of contemplation and reverie, reminding us that everything is always changing and evolving. Reflecting the world around it, offering vital nourishment to life, and functioning as a symbol of the incomprehensible vastness of time and consciousness, water is transformative. Subtle Bodies, 2025, 12 x 14 in, oil and paper on canvas Quasi-Material Woman, 2026, 40 x 48 in, oil and paper on canvas <figcaption id="caption-attachment-16427" ...
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