Divya Mehra and I met briefly, almost in passing at the Banff Centre in Alberta, Canada a couple years back. In what seemed moments we were arguing about the role artists have in society, and the problems and difficulties of institutional support. This quickly led to a deep respect for Divya and her work.
Kenneth Goldsmith and I sat down at our computers in constantly changing parts of the world, and we talked about his recent poet laureateship at the Museum of Modern Art. For the position, he delivered a special lecture and organized a series that invited contemporary poets to read in galleries to museum visitors. The events ranged from one person reading intimately in a gallery to the entire fourth floor being taken over by writers.
When Cora Cohen needed help in her studio, a mutual friend recommended she call me. The job started by looking and talking about her art. There were clashes. We have different and similar approaches to painting.
Diana Al-Hadid makes work that crosses cultures and disciplines, drawing inspiration from art history, ancient invention, science, science fiction, myth, and Northern Renaissance paintings. In a broader sense, too, once can see influences from architecture, astrophysics, instruments, caves, puddles, black holes, sound and pitch and volume, pixels, plate tectonics, levers and pulleys, geometry, staircases, muscles, acrobatics, pedestals, and invisible things.