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Articles by Lucia Hierro
Lucia Hierro, tessuti della memoria
Un incontro con l’artista Lucia Hierro (New York, 1987, vive e lavora a New York) nel suo studio, in un ex edificio industriale del Bronx. Cresciuta tra Washington Heights e Inwood (il quartiere che a Manhattan è conosciuto come Little Domenican Republic), Hierro che con le sue soft-sculptures esplora l’identità latina, lo considera una fonte d’ispirazione proprio per la sua vivace atmosfera legata alle radici culturali domenicane.
Conceptual artist Lucia Hierro on doing right by your work
Conceptual artist Lucia Hierro discusses the value of getting to know yourself, the challenge of staying present, and the studio as a sacred place. Part of: Becoming an artist Developing a creative process Feeling healthy Highlights on I read that your dad had a recording studio and that your mom has also been part of your practice as well in terms of sewing. I’d love to know more about that. My family is in the arts via music and those are sort of the beginnings of my curiosity towards art.
No Preservatives | The Science and Ethics of Contemporary Art Conservation: A Discussion with Tom Learner
Tom Learner is senior scientist at the Getty Conservation Institute (GCI) and the person responsible for the Pacific Standard Time exhibition From Start to Finish: De Wain Valentine’s Gray Column, which has received a lot of positive press reaction, including a recent article in the New York Times. Richard McCoy: How did you arrive at your position of conservation scientist?
Family Business | Art21 Magazine
New Yorker collage series (2012-present). Image provided by the artist. Now, being an artist also means creating a platform to monumentalize the wide range of cultural histories. I grew up hearing the music of La Gran Manzana (The Big Apple) blaring from bodegas, six-floor walk-ups, and taxicabs. Henry Hierro, my father, is the singer/songwriter for the group, a fixture in the merengue movement popular in New York City in the 1980s.
Agency in the Classroom: Who Makes the Decisions?
The word agency describes the capacity of a person to act in a given environment. By analogy, it could be the capacity of a student artist to create in the art classroom. But who makes the art-making decisions in that environment? Is it my job, as the teacher, to decide what will get made and how, or do I hand over some decisions to my students and guide them in the process?
What if balance was about process, rather than outcome?
Photo credit: Steve Bognar. “The journalist…never had the slightest intention of collaborating with him on the story, but always intended to write a story of his own.” —Janet Malcolm, The Journalist and the Murderer, 1990 Journalists often talk about balance, and it is usually in the context of a finished piece of writing: was it “fair and balanced”? Did it consider all sides of an issue? Did it appear to take a side?
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