Danh Vo talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Vo was born in 1975 in Bà Rja, Vietnam and raised in Denmark. He lives and works between Germany, where he has a studio in Güldenhof, 80km outside Berlin, and Mexico City. His art is often founded in personal experiences and relationships, but alludes to wider social and political conditions and structures, both present and historical. The way he reflects on his autobiography is distinctive: his art is embedded in his experience as a Vietnamese immigrant to Europe as a child and queer identity, for instance, but his collaborative practice often stems from coincidences or serendipitous occurrences in daily life. Danh uses found objects of different registers, from household items to historic religious sculptures, as well as archival images and texts, and brings them into dynamic relationships, in which the exhibition space and context is often a vital component. He also incorporates the work of other artists and designers into his installations, and his practice has been likened to that of a curator or archaeologist. Ultimately, his vision is entirely his own, but by involving the thinking and making of others, he ensures that it resonates with discussion, providing more questions than answers. He reflects on his idea to set traps for himself through his art in order to question his desires, and how that relates to the viewer’s experience of his work. He discusses the balance between his studio life in Güldenhof and his use of the exhibition space as a studio to forge his installations. He reflects on the influence of Felix Gonzalez-Torres and his writing on the work of Roni Horn, he discusses the many collaborations in his work, from that with the artist and writer Julie Ault to his project working with Martin Wong’s mother on the collection she built with her son. And he explains why William Friedkin’s The Exorcist (1973) has been the source for numerous works. Plus, he answers our usual questions, including the ultimate: what is art for?

Danh Vo: πνεῦμα (Ἔλισσα), Stedelijk Museum, Amsterdam, until 2 August; Danh Vo, White Cube, New York, 11 September-10 October

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Veronica Ryan talks to Ben Luke about her influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped her life and work.

Ryan was born in 1956 in Plymouth on the Caribbean island of Montserrat and came to the UK as an infant. She now lives between London and New York. She explores personal, collective and historical memory through a range of sculptural materials and processes. Her installations and individual sculptures combine a wealth of things and techniques, often all at once, from found objects to time-honoured sculptural materials like bronze and marble; and from carving to casting and crocheting. Colour plays a vital role in her work, in the varied hues of textiles or plaster. And she creates forms as diverse as seeds and fruits, mats and nets, pillows and blankets and architectural structures. Through arresting and often multilayered arrangements, she evokes the minutiae of everyday experience (often with a profoundly personal meaning), makes reference to resonant historical events and their legacies, and addresses major human themes and rites of passage. She reflects on the meanings embedded in her materials, her relationship with psychoanalysis and unconscious processes, and her distinctive approach to displaying her work. She discusses the early influence of her mother’s textiles, her visits to the British Museum and her epiphanic encounter with the work of Eva Hesse and Louise Bourgeois. She reflects on the importance of the poetry of Maya Angelou and chamber music and reggae, and she answers our usual questions, including the ultimate: what is art for?

Veronica Ryan: Multiple Conversations, Whitechapel Gallery, London, 1 April – 14 June 2026

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Catherine Opie talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Over more than three decades, Opie, who was born in 1961 in Sandusky, Ohio, and lives today in Los Angeles, has created photographic portraits, cityscapes and landscapes that have borne witness to social and political conditions and tensions—particularly in her native United States—while also reflecting a deeply personal response to people and community. Fundamental to her work is an exploration, as a queer woman and as a documentarian photographer, of the nuanced, multifarious nature of identity, most prominently in LGBTQ+ communities, but also far beyond them. She has committed from her earliest mature images to the idea that, as she has phrased it, “Without representation, there is no visibility”—a belief that remains more vital than ever in the US and across the world in the 2020s. And that visibility is manifest not just in the portraiture for which she is best known, but also in the central place that architecture and interiors play in her work. She repeatedly calls our attention to the juxtaposition of the built environment and the construction of bodies and identities. So she documents her surroundings in the fullest sense: she depicts the people she loves, knows and meets; the spaces they occupy; and the broader physical and social environment around them. Ultimately, she hopes, through encountering her art, viewers will gain a better understanding of humanity in all its complexity. She reflects on her early discovery and desire to make pictures, aged nine, and the key figures that helped her choose to become an artist. She talks about the kinship between poetry and art and the fundamental importance, whatever her subject, of human connection. She reflects on artists as diverse as Holbein and Leonardo and Gerhard Richter and Lynette Yiadom-Boakye, on the influence of writers including Joan Didion and Octavia Butler, and on her admiration for Chloe Zhao and Chris Marker. Plus, she gives insights into her life in the studio (and darkroom) and answers our usual questions, including the ultimate: what is art for?

Catherine Opie: To Be Seen, National Portrait Gallery, London, 5 March-31 May 2026; Catherine Opie: The Pause that Dreams Against Erasure, The Fridericianum, Kassel, Germany, 19 July 2026.

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