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Grace Edquist

@graceedquist

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Maia Ruth Lee speaks with Vogue’s @graceedquist ahead of 𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯, Lee’s solo exhibition opening at the gallery this Thursday.

Lee recounts her itinerant life—from her childhood in Nepal and college years in Seoul, to her adulthood in New York, Colorado, and San Francisco—and how these experiences shaped her focus on migration and memory. Among the works featured are new paintings, latex sculptures, a video featuring family footage, and expandable-luggage sculptures. On view will also be a new 𝘎𝘭𝘺𝘱𝘩 installation, part of the body of work that will become her 2027 Queens Museum commission.

Across these varied forms, Lee sees her practice as an interconnected whole: “It becomes flat, it becomes sturdy, it becomes latex, it becomes a painting, it becomes an installation—but they’re all kind of in the same world.”

𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯 opens Thursday, September 10, 6–8pm.

Read more via the link in our bio.

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“The first time the artist Eve Biddle exhibited her work alongside her mother’s, she was a bit nervous. It was 2018, 20 years after she lost her mom, Mary Ann Unger, to breast cancer. Unger used materials like bronze, marble, and steel to make her mammoth sculptures. “Mom’s work has a loud voice,” says Biddle, whose own work crosses disciplines and is often smaller in scale. But Alexandra Schwartz, the curator of that 2018 show, knew it would be a powerful pairing despite the artists’ different styles. “She told me, ‘You can see two voices,’” Biddle recalls. One didn’t drown the other out—they harmonized.”

From @graceedquist’s 2024 @voguemagazine article, Relationships Take Center Stage in the Museum of Arts and Design’s New Craft Show.

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“Coming face-to-face with paintings of such size and power emphasizes that Helen Frankenthaler was a woman of gusto.” — @GraceEdquist

“Helen Frankenthaler: The Moment and the Distance,” on view at @Gagosian and organized in collaboration with the @HelenFrankenthalerFoundation, surveys four decades of paintings from 1960 to 1992, including more than twenty of the artist’s largest and most ambitious works.

From works created with diluted oil paint to compositions with large, flat slabs of color acrylic paint and landscapes with loose rectilinear brushstrokes, “The Moment and the Distance” reveals Frankenthaler’s continuous introduction of new painting techniques and imagery as well as her stalwart commitment to abstraction.

Read more in @VogueMagazine at the link in bio. 📰 🔗

📸: (1) Frankenthaler in her studio on East 83rd Street, New York, February 1989, with (from left to right): “With Violet” (1988), “The Widow of Fantin Latour” (1988), “Bird of Paradise” (1986–89; upside down), and “Water Shadows” (1988). Helen Frankenthaler Foundation Archives, New York. Photo: Hans Namuth (2–4) Helen Frankenthaler, “The Moment and the Distance,” 2026, installation view © 2026 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York. Photo: Maris Hutchinson. Courtesy Gagosian.

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2025….god damn. this year punched me in the nuts. it also showed me what’s really important: love, art, joy, family, friends.

i had countless moments of “whatever i thought it was, that’s what it wasn’t”. i cherish the chance to fall on my face and get back up better and stronger and more aligned w my purpose.

this year was about taking responsibility, letting joy in, and self acceptance as law. i’ve learned to be faithful to the process, to trust that even in the depths, there is a burning love for music that guides me exactly where i need to go.

i’m so grateful to have the most incredible, impeccable people in my life. yall really get me and that’s crazy. i’m just getting started. 2026 is gonna be fucking awesome.

happy new year 💖 see u on the floor

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Thanksgiving Lately

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@sigridsandstromstudio for @voguemagazine written by Grace Edquist (@graceedquist). Full article linked in our bio.

𝗦𝗶𝗴𝗿𝗶𝗱 𝗦𝗮𝗻𝗱𝘀𝘁𝗿ö𝗺: 𝙋𝙚𝙣𝙪𝙢𝙗𝙧𝙖
On view through December 20
📍 372 Broadway, New York

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“At New York’s MacDowell, the Fiery Epiphanies of Artist Luise Kaish Unfurl,” writes @GraceEdquist in a lyrical @VogueMagazine exclusive ahead of Luise Kaish: Fire on the Mountain, a sublime presentation of rarely seen work made by the late New York City sculptor who pioneered monumental sculptures in bronze, aluminum, and stainless steel in the 1950s, 1960s, and 1970s and on view @MacDowell1907 at 521 West 23rd St. from October 27–31. The show kicks off an arc of exhibitions and talks celebrating the artist’s 100th.
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A joy to work with Susan Fisher, @sdgfisher who has curated the “jewel box” installation of burnt canvas and mixed media collages begun by the artist during a consequential residency at MacDowell in New Hampshire in 1976, and @glenn_adamson who, in the exhibition booklet, aligns Kaish "alongside other women artists of the time who embraced fire as a creative medium, among them Ana Mendieta, who famously used flame to inscribe her own silhouette into the earth.”
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“Kaish,” Edquist writes, “had a deep connection to spirituality, particularly Jewish mysticism and cites art historian Norman L. Kleeblatt, who remarks that ‘relevant to the physical fabrication and psychological foundations of Kaish’s Burntworks is the kabbalistic notion of the breaking of the vessels and the related concept of tikkun, or healing the world.’”
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“Is it possible that in layering strips of charred material, Kaish was trying to heal something? I think of Monadnock I, one of her first Burntworks created at MacDowell, in which large rectangular patches of raw canvas are layered on top, almost like a bandage applied to stem the bleeding. By using the destructive force of flame, and balancing the scorched bits with pristine counterparts, she made the case for harmony between light and dark.”
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“In 1981 she showed a selection of them at Staempfli gallery. For the exhibition’s catalog, she wrote: ‘…I like to think of these landscape collages as brief poems, as worlds in themselves, where through the very smallness of a window, we can glimpse the stars of the universe.’”
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More in comments //

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Today @GraceEdquist of @voguemagazine drops “At New York’s MacDowell, the Fiery Epiphanies of Artist Luise Kaish Unfurl”, an exclusive on the artist’s consequential moment at the artist residency in 1976, and the work that followed.

In the summer of 1976 at MacDowell, Luise Kaish tossed a painting into the fire—then watched in awe as the curling, scorched canvas revealed tones and textures no brush could create. Pulling the burning strips from the flames, she began to cut, layer, and recompose—forming what she called her Burntworks.

Now, nearly 50 years later, those radical collages return to where they began in Luise Kaish: Fire on the Mountain—as Edquist enthuses, “[A] jewel box exhibition…” of these rarely seen works at MacDowell NYC (521 West 23rd Street) on view from October 28–31.

Read the full story: www.vogue.com/article/macdowell-luise-kaish-new-york-exhibition (link in bio).

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NANNA shoutout in this brill @voguemagazine piece by @graceedquist about @beverlysnyc and everything @leahelizabethdixon has built there. Love being in hxtorical company with friends like @joshane1 @misterace12 @annelauresees @stina.p + @mollie_mckinley that make it fun (and possible) to be an artist in NYC. Go check out the show, up this month and then some ✨

1. Not playing is like giving in, 2025
Oil on linen, 8 x 10 inches

Photo by @loganwhitephoto

3,5 Install shots by @mollie_mckinley

7,9 x Dahlia Bloomstone
Endless Labor, 2025
1080p, 7 minutes 14 seconds

SUB I, 2025
Oil on linen, 30 x 40 inches

Photos by @mollie_mckinley

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Ahead of our presentation of work by Huguette Caland, alongside her compatriots and contemporaries, Afaf Zurayk and Dorothy Salhab Khazemi, we're sharing an excerpt of Vogue’s "The Audacious Life and Art of Huguette Caland,” by @graceedquist.

“One of the things that I love about these paintings is that she takes a body part and turns it into a landscape. So they have this duality,” says Salon 94 founder Jeanne Greenberg Rohatyn. A particularly striking example is an untitled canvas from 1968 with a red base and a vertical green slit down the middle. It’s a sexy painting— bold and suggestive, yet still abstract. “The green color represents landscape,” Greenberg Rohatyn says, “but you can still read the body parts in it.”

Full article linked in our bio 🔗

@huguettecaland
@vogue
@jeannegr

Pictured:
1. The artist Huguette Caland, photographed in her Venice home. Photo: courtesy of the estate of Huguette Caland
2. Huguette Caland, Untitled, 1968-1970, oil on canvas, 40 3/8 x 28 1/4 in. © The Estate of Huguette Caland.Photo: Courtesy of Salon 94 and Independent
3. Huguette Caland, Untitled, 1968, oil on canvas, 36 1/2 x 29 in. © The Estate of Huguette Caland
4. Huguette Caland, Corps (with text by Andrée Chédid), 1978, graphite and colored pencil on paper. © The Estate of Huguette Caland. Photo: Courtesy of Salon 94 and Independent
5. Caland’s home in Venice, California, with a painting from her Bribes de Corps series. Photo: Courtesy of the Estate of Huguette Caland.
6. Caland in one of the caftans she designed for Pierre Cardin. Photo: Courtesy of the Estate of Huguette Caland.

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