do u italicize essay titles

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Are Essay Titles Italicized? A Guide for APA and MLA Titles

• by Michael Smart
• January 16, 2024
• Custom Essay writing

Have you ever written an essay and then question yourself whether you have used italics appropriately in the titles? Is the use of italics something that worries you to the extent of avoiding them?

Well, you are not alone because many students do not fully understand how to apply them in their essays, particularly in the titles. 

This article will explain when to use italics in your essay and how to appropriately write them. However, before exploring this, it is important to note whether essay titles are italicized or not.

Are Essay Titles Italicized?

The answer to this question depends on the type of words in the title. Essay titles can be italicized. In case you have a title that includes names of vehicles, large works, television series, or movies, you should use italics when mentioning them.

Essay titles can be italicized if the words represent a literary work or are a quote that needs to be represented in italics. Essay titles can also be italicized if all the words or some of them represent certain non-English wordings that are not in the English dictionary.

Literary words are works of literature. Titles of plays, books, and other forms of works of art should also be italicized within the title to set them apart from the surrounding text. 

When writing an essay, you will be required by your instructor to format it academically in either APA or MLA since the two formats are the most commonly used.

Instances When to Italicize Titles in an Essay

1. when words need to be emphasized within the title.

As we have noted, italics are used to set a word or phrase apart from other text within the title.

When the word or phrase is set apart, it means that the reader will easily notice it and even prioritize its meaning compared to the rest of the words.

Therefore, if you have a word or words that need to be emphasized within the title of your essay, you can italicize them.

There are some words or phrases that you will include in your title and you wish your readers to take note of them.

They can be part of the essay’s keywords that you might explain from a different perspective to that of the readers.

However, it should be noted that emphasizing words using italics within the title is not commonly used in academic writing. 

2. When including Publication Names in your Title

Imagine you are writing an essay in which you are required to conduct an in-depth analysis of an article or case study within a publication.

In this case, you may need to include the name of the publication within your title to instantly communicate to the reader what the paper is all about. Such publication names include:

3. Standalone Works in the Essay Title

When you are including the title of a standalone work like complete plays and books, you should italicize them. Titles of sacred texts should also be italicized when they are included in the title of your essay. This is especially the case when analyzing the complete works in your essay.

For example, if your essay is analyzing a specific Harry Potter book, the title will appear like this: Elements of Style in  Harry Potter and the Deathly Hallows .

When it comes to places like Romeo and Juliet, your title will look like this: Elements of Style in  Romeo and Juliet .

For sacred or religious texts like the King James Version of the Bible, the title may appear like this: Understanding the Meaning from the Language used in  King James Bible . 

4. When Writing Titles of Creative Works

In case you are required or find yourself in a situation where you need to include the title of creative work in the title of your essay, you should italicize it. This should only include titles of standalone creative works. Such include: 

5. When Using Foreign and Unfamiliar Words

In case you have an essay title that requires you to include a foreign word, you should italicize it. The same case applies to words that you are not familiar with or words that are technical. 

6. When Referring to Legal Cases

When you are writing an essay that explores or analyzes a legal case, you should include the name of the case within the title of your essay to separate it from the rest of the text. For example, “Analyzing the Outcomes of the Case of  Brown v. Board of Education ”. 

How to Write Titles in an APA Essay?

Titles in an APA essay will utilize a unique system of headings that help in classifying and separating the different sections in your essay. They take levels. Note that the aforementioned instances of italicization will still apply on the different levels. 

The first level or the main topic of your APA essay will be centered, boldface, and with a title-case heading.

Remember to capitalize the first word, all the principle words, and the last word in the title.

Avoid capitalizing prepositions (“above”, “on”, “to”, “below”, etc.), articles (“an”, “a”, and “the”), and coordinating conjunctions (“for”, “nor”, “and”, “but”, “so”, “or”, and “yet”).

The paragraph will be left justified with the first sentence indented. 

The second level of the title should not be centered on your paper.

It should be flush left or it should begin at the left side of your page with no indentation.

It should also be typed in bold with a title case heading. The paragraph will also start from the left side of your paper with an indentation.

The third level of your titles should also begin at the left side of your page with no indentation. It should be boldface with a title case heading. However, the third level of your title should be italicized. The paragraph begins from the left side of your page with an indentation. 

The fourth level of your titles should be indented, boldface, and with a title-case heading. This level is not italicized. However, it ends with a period because the text of the paragraph that follows should continue on the same line as that of the title level. 

The fifth level of an APA title should also be indented, boldface, and with a title-case heading. However, this level is italicized. It also ends with a period since the next paragraph will start on the same line. 

How to Write Titles for MLA Essay

Titles in an MLA essay have different levels with the first level being centered, boldface, and with a title, case heading. The second level should be written in the same way as the first level with the only difference being that the second level is flushed to the left side of the paper. 

The third level should begin at the left side of your page with no indentation.

It should be boldface with a title case heading.

The third level of your title should be italicized.

The fourth level should be indented, boldface, and with a title, case heading.

This level is not italicized. However, it ends with a period.

The fifth level should also be indented, boldface, and with a title, case heading. This level is italicized. It also ends with a period. 

In MLA, you should also capitalize the first word, all the principle words, and the last word in the title. Don’t capitalize prepositions, articles, and coordinating conjunctions.

Read our guide on how to write good essay titles to get further insight and tips that will help you sharpen your writing skills.

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The Art of Italicizing Essay Titles: A Writer's Guide

When you're knee-deep in the world of academic or professional writing, the question of whether to italicize essay titles can be as perplexing as choosing the right metaphor for your conclusion. It's a detail that might seem small, but in the realm of effective writing, it's a significant one. In this article, we'll unravel the mystery surrounding the italicization of essay titles, ensuring your essays not only read well but also look the part.

Understanding When to Italicize Essay Titles

The decision to italicize an essay title is not just a stylistic choice, but one that's guided by established conventions in writing. Generally, the rule of thumb in academic and professional writing is to italicize the titles of longer works and to use quotation marks for shorter works. But, as with any rule, there are nuances to understand.

Italicizing Long Works

In most style guides, including APA, MLA, and Chicago, the titles of longer works like books, plays, movies, and, yes, standalone essays, are italicized. This helps to distinguish them from shorter pieces, like articles or poems, which are typically enclosed in quotation marks.

Examples for Better Understanding

• The Great Gatsby by F. Scott Fitzgerald
• Romeo and Juliet by William Shakespeare
• A Room of One's Own by Virginia Woolf

Short Works: Quotation Marks

On the flip side, shorter works, such as articles from journals, chapters from books, or individual poems, are generally enclosed in quotation marks. This distinction helps to immediately signal to the reader the length and context of the work being referenced.

Clear Examples

• "The Road Not Taken" by Robert Frost
• "Self-Reliance" by Ralph Waldo Emerson

Navigating Exceptions and Variations

Of course, in the English language, exceptions are as common as commas. Some style guides have specific rules for certain types of works. For instance, in journalism, essay titles are often placed in quotation marks, regardless of their length. Always consider the style guide you are adhering to and the context of your writing.

Tips for Perfect Formatting

• When in doubt, refer to the specific style guide required for your writing.
• Remember, consistency is key. Stick to one style throughout your document.
• If you're self-publishing or not bound by a specific style guide, choose a format and be consistent with it.

Advanced Considerations: Digital Writing and SEO

In the digital age, formatting decisions can also impact how your content performs online. While search engines don't specifically rank for italicization, the clarity and professionalism of well-formatted titles can influence reader engagement and sharing.

Embracing Digital Best Practices

• In blog posts or online articles, clarity is crucial. If your platform doesn't support italicization, using quotation marks is an acceptable alternative.
• Consider your audience; online readers often scan content, so clear formatting is key.

Whether you're a student, a professional writer, or just someone looking to polish their writing skills, understanding when and how to italicize essay titles is a valuable part of your writing toolkit. It's not just about following rules; it's about communicating with clarity and precision.

Frequently Asked Questions

Do i italicize essay titles in apa format.

Yes, in APA format, the titles of longer works like essays are italicized.

Should essay titles be italicized in MLA format?

Yes, in MLA format, standalone works like essays should be italicized.

What if I'm writing a blog post?

In a blog post, if italicization is not available, using quotation marks is acceptable. The key is clarity and consistency.

How do I handle essay titles in a handwritten document?

In handwritten documents, underlining is traditionally used in place of italics.

Are there any online tools to help with formatting?

Yes, there are various online writing tools and platforms that can assist with formatting, including italicization.

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When writing a paper, do I use italics for all titles?

Simply put: no .

APA's Publication Manual (2020) indicates that, in the body of your paper , you should use italics for the titles of:

• "books, reports, webpages, and other stand-alone works" (p. 170)
• periodicals (journals, magazines, newspapers)

Beyond APA's specific examples, know that certain types of titles are almost always written in italics. 

A general rule of thumb is that within the text of a paper, italicize the title of complete works but put quotation marks around titles of parts within a complete work. 

The table below isn't comprehensive, but it's a good starting point

On an APA-style  reference page , the rules for titles are a little different.  In short, a title you would italicize within the body of a paper will also be italicized on a reference page.  However, a title you'd place in quotation marks within the body of the paper (such as the title of an article within a journal) will be written without italics and quotation marks on the references page.

Here are some examples:

Smith's (2001) research is fully described in the Journal of Higher Education.

Smith's (2001) article "College Admissions See Increase" was published in the Journal of Higher Education after his pivotal study on the admissions process.

Visit the APA Style's " Use of Italics " page to learn more!

• Reading and Writing
• Last Updated Jun 12, 2022
• Views 2136776
• Answered By Kate Anderson, Librarian

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Comments (8)

• Nice, quick, concise listing. Good format to save for quick reference by AlonzoQuixano on May 14, 2015
• Thank you so much for the information. It was so helpful and easily understandable. by mary woodard on Jun 29, 2015
• Is it the same for MLA writing? Thanks Sara, Librarian: Lesa, Rasmussen College doesn't teach or focus on MLA for students. But if you have specific MLA formatting questions, I recommend you take a look at the MLA FAQ website here: https://www.mla.org/MLA-Style/FAQ-about-MLA-Style by Lesa D.W on Dec 04, 2015
• What about the name of a community program, for example Friend's Read. Would you use quotations or italics? Sara, Librarian: Adriana, great question. for organization or program names in the text of a paper you don't need to use italics or quotation marks. Just capitalize the major words of the organization or program like you did above with Friend's Read. by Adriana on Apr 11, 2016
• Thank you for this posting. I am writing a paper on The Crucible and, surprisingly, I couldn't find on the wonderfully thorough Purdue Owl APA guide whether titles of plays are italicized or in quotes. by J.D. on Apr 18, 2016
• this was really helpful, thank you by natalie on Dec 11, 2016
• thank you so much, this is very helpful and easy to understand. by Mendryll on Jan 24, 2017
• Thank you! I am also wondering, do you capitalize only the first word of the title when using it in the text of your paper, like you are supposed to do in the references list? Or do you capitalize all the "important" words like usual? Sara, Librarian Reply: Ashley, within the text of your paper you should capitalize all the important words like you normally would. Thank you for your question! by Ashley on Dec 04, 2017

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MLA Style Guide Eighth Edition

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Title of Source. The title is usually taken from an authoritative location in the source such as the title page. It is the name of the source you are using. Capitalize the following parts of speech in a title: nouns, pronouns, verbs, adjectives, adverbs, subordinating conjunctions (although, because, unless, after, until, when, where, while, etc.). Do not capitalize articles, prepositions, coordinating conjunctions, the "to" in infinitives if they appear in the middle of the title. A colon separates the title from the subtitle unless it ends in a question mark or exclamation. Titles should be italicized or enclosed in quotation marks. Titles that are independent and self-contained (e.g., books) and titles of containers (e.g., anthologies) should be italicized. Titles that are contained in larger works (e.g., short stories) should be in quotation s. Exceptions to the above rule are: 1) Scripture (Genesis, Bible, Gospels, Upanishads, Old Testament, Talmud, etc.) Titles of individualized scripture writings, however, should be italicized and treated like any other published work.(e.g. The Interlinear Bible) 2) Names of laws, acts and political documents (Bill of Rights, Declaration of Independence, Magna Carta, Treaty of Marseilles, etc.) 3) Musical compositions identified by form, number, and key (Beethoven's Symphony No. 7 in A, op. 92) 4) Series titles (Critical American Studies, Bollingen Series, etc.) 5) Conferences, seminars, workshops, and courses (MLA Annual Convention, English 110)

The title of the work follows the author and ends with a period . Mitchell, Margaret. Gone With the Wind . New York: Macmillan, 1961.

A sub-title is included after the main title . Joyce, Michael. Othermindedness: The Emergence of Network Culture. U of Michigan P, 2000. Baron, Sabrina Alcorn et al., editors. Agent of Change: Print Culture Studies after Elizabeth L. Eisenstein. U of               Massachusetts P /Center for the Book, Library of Congress, 2007.

The title of a story, poem or essay in a collection, as part of a larger whole, is placed in quotation marks . Dewar, James A., and Peng Hwa Ang. "The Cultural Consequences of Printing and the Internet." Agent of Change: Print             Culture Studies after Elizabeth L. Eisenstein. U of Massachusetts P /Center for the Book, Library of Congress,             2007, pp. 365-77. 

Independent work in a collection When a work that is normally independent (such as a novel or play) appears in a collection, the work's title remains in italics. Euripides. The Trojan Women . Ten Plays, translated by Paul Roche, New American Library, 1998, pp. 457-512.

The title of a periodical (journal, magazine, or newspaper) is in italics and the title of the article is in quotation marks. Goldman, Anne. "Questions of Transport: Reading Primo Levi Reading Dante." The Georgia Review, vol. 64, no. 1, 2010           pp. 69-88. Note: This rule applies to all media forms such as the title of a television series, an episode in a television series, a song or piece of music in an album, a posting or article on a web page. See examples below. Television series Buffy the Vampire Slayer . Created by Joss Whedon, performance by Sarah Michelle Gellar, Mutant Enemy, 1997-2003. Episode in a television series "Hush." Buffy the Vampire Slayer , created by Joss Whedon, performance by Sarah           Michelle Gellar, season 4, episode 10, Mutant Enemy, 1997-2003. Web site Hollmichel, Stefanie. So Many Books . 2003-13, somanybooksbkog.com Note: When giving a URL, omit http and https. Posting of an article on a web site Hollmichel, Stefanie. "The Reading Brain: Differences Between Digital and Print."           So Many Books, 25 April 2013, somanybooksblog.com/2013/04/25/the-reading-brain-differences-between-digital-           and-print/. A song or piece of music in an album Beyonce. "Pretty Hurts." Beyonce , Parkwood Entertainment, 2013,           www.beyonce.com/album/beyonce/?media_view=songs.

Untitled Source In the place of the title, provide a generic description of the source without italics or quotation marks. Capitalize the first word in the title and any proper nouns in it. Mackintosh, Charles Rennie. Chair of Stained Oak. 1897-1900, Victoria and Albert Museum, London.

Comment or review of a title in an online forum Jeane. Comment on "The Reading Brain: Differences Between Digital and Print." So Many Books, 25 Apr. 2013,            10:30 p.m., somanybooksblog.com/2013/04/25/the-reading-brain-differences-between-digital-and-            print/#comment-83030

Review of a title in an online forum Mackin, Joseph. Review of The Pleasures of Reading of an age of Distraction , by Alan Jacobs. New York Journal of Books, 2 June 2011, www.nyjournalofbooks.com/book-review/            pleasures-reading-age-distraction.

Tweet Reproduce the full text without changing anything and enclose within quotation marks. @persiankiwi."We have report of large street battles in east and west of Tehran now. - #Iranelection." Twitter ,            23 June 2009, 11:15 a.m., twitter.com/persianwiki/status/2298106072.

E-mail message Use subject as the title. Subject is enclosed in quotation marks. Boyle, Anthony T. "Re: Utopia." Received by Daniel J. Cayhill, 21 June 1997.

Introduction, Preface, Foreword, or Afterword Capitalize the term in the works cited list but do not italicize or enclose in quotation marks. The term need not be capitalized in in-text discussion. Felstiner, John. Preface. Selected Poems and Prose of Paul Celan , by Paul Celan, translated by Felstiner              W.W. Norton, 2001, pp.xix-xxxvi.

Translations of Titles Place translations of titles for foreign works in square brackets in the works cited list. The translation appears next to the title.

Shortened titles The first time a title is mentioned in your work, it should appear in full. If the title is repeated in the work, it can be shortened to a familiar one (e.g., Skylark for Ode to a Skylark).

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• Writing Tips

Formatting Titles in Essays

2-minute read

• 8th May 2018

Handling your own headings is one thing, but how should you write the titles of other works? You need to mark them out somehow, and you have two standard options: italics or quote marks.

This is especially important in academic writing , as you’ll often have to discuss books and papers written by other people. Here, then, are some guidelines you should follow when formatting titles.

When to Use Italics

You can often spot a title from the capitalisation , but we still format titles to distinguish between different types of source. Titles of longer sources, for example, typically use italics:

Here, Kerrang! is italicised because it is the title of a magazine (i.e. a standalone work that is not one part of a larger whole). Other publications and productions that this applies to include:

• Academic journals
• Newspapers and magazines
• Websites and blogs
• Films and TV shows
• Radio programmes
• Plays and other stage shows
• Book-length poems
• Paintings and other works of art
• Music albums

The key here, then, is that italics are used for longer published works .

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When to Use Quote Marks

We use quote marks for the title of anything that doesn’t fit in the list above. Usually, this will be something that is part of a more substantial publication, such as an article from a magazine:

In this case, we see both the magazine title and an article title. Using italics on the former and quote marks on the latter makes it immediately obvious which is which. Other cases where quote marks are required include:

• Chapters from books
• Academic papers and journal articles
• Articles from newspapers and magazines
• Single pages from a website or posts from a blog
• Individual poems and short stories
• Single episodes of a TV series
• Single poems from a collection
• Songs and other short recordings

In this case, the key is that quote marks are used for shorter works . However, quote marks are also used for unpublished works regardless of length (e.g. a draft manuscript or a PhD dissertation).

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MLA Style: Basics

Formatting titles.

The second core element in bibliographic citations is the title of the source. Titles in English should be presented in title or headline case and either in quotation marks or italicized. End this core element with a period.

What do you mean 'either in quotation marks OR italicized'?

In general, the titles of longer works are italicized and the titles of shorter works are enclosed in quotation marks. [2.106] Books, movies, podcasts, musical albums, an journals are all italicized. Poems, YouTube videos, podcast episodes, song titles, and journal, newspaper and magazine articles are all enclosed in quotation marks.

Works without titles

If the work doesn't have a title, don't skip this element. Instead, write your own concise description of the source. Descriptions of works are not included in quotation marks. [5.28] Some untitled short works, like poems, use the first line as a title. In this case, include the first line as presented in the work and include it in quotation marks [5.29]

Shortening Titles

Very long titles can be shortened in your works cited list. Make sure you retain enough of the title for your reader to understand which source you're citing, and note that you've shortened the title with ellipses. The period or comma that ends the core element comes after these ellipses. [5.26]

What is title case?

Title or headline case is when you capitalize nouns, pronouns, verbs, adjectives, adverbs, subordinating conjunctions, and the first word of a title. Don't capitalize prepositions, coordinating conjunctions, the to in infinitives, or articles. [2.90]

What about titles in languages other than English?

Capitalize only the first letter of the first word of the title and words normally capitalized in prose. [2.91]

For additional guidance, consult the MLA handbook.

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MLA Style Guide, 7th Edition: Titles

• About In-text Citations
• In-text Examples
• How to Paraphrase and Quote
• What to Include
• Editors, Translators, etc.
• Publication Date
• Volume/Issue
• Place of Publication
• Date of Access (when needed)
• Book with Personal Author(s)
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• Parts of Books or Anthologies
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• Journal Article
• Newspaper Article
• Magazine Article
• Government Publication
• Web Publications
• Other Common Sources
• Formatting Your Paper
• Formatting Your 'Works Cited' List
• Annotated Bibliography

General Rules for Titles in Works Cited List (in progress)

In general, the title of a work is taken from the title page of the publication. Refer to section 3.6.4 of the MLA Manual for more about titles and quotations within titles. Section 3.6.5 discusses exceptions to the rules.

• Rules for capitalizing are strict. Capitalize all principal words (nouns, verbs, adjectives, etc.). Do not capitalize articles, prepostions, or conjunctions when they fall in the middle of a title.
• Separate a subtitle with a colon and a space.
• Italicize titles of larger works like books, periodicals, databases, and Web sites.
• Use quotation marks for titles published in larger works like articles, essays, chapters, poems, Web pages, songs, and speeches.

Book titles

Book titles are italicized.

• Writing Matters: A Handbook for Writing and Research (book)
• Their Eyes Were Watching God
• All the Pretty Horses

Chapter title in a book or anthology

The book title is  italicized ; the title of the article or essay is enclosed in quotations.

Henderson, Carol E. "Refiguring the Flesh: The Word, the Body, and the Rituals of Being Loved in Beloved and Go Tell It on the Mountain ." Critical Insights: Toni Morrison . Ed. Solomon O. Iyasere and Marla W. Iyasere. Pasadena: Salem P, 2010. Print.

Beloved and Go Tell It on the Mountain (book titles) remain italicized in the article title.

Journals and Magazines

The title of the periodical (journal, magazine, or newspaper) is italicized. The title of the article or work is enclosed in quotations.

Danport, Sandra. " A Study of Malawian Households." Journal of Developing Areas ...

Gardiner, Andy. "Stanford Could Lose QB, Coach." USA Today ...

The title of the periodical (journal, magazine, or newspaper) is italicized. The title of the article or work is enclosed in quotations. Omit any introductory article in the newspaper title for English-language newspapers ( Palm Beach Post, not The Palm Beach Post ). Retain the article in non-English language newspapers ( Le monde ).

The title of the work is italicized if the work is independent. The title of the work is enclosed in quotation marks if it is part of a larger work. The title of the overall Web site is italicized if distinct from the the title of the work.

Park, Madison. "How Does a Baby Get To Be Obese." CNN.com ....

Salda, Michael N., ed. The Cinderella Project ...

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Writing Nestling

Do You Italicize Titles? (Easy Guide & Explained)

Welcome to the intriguing realm of typographical finesse – the nuanced practice of italicizing titles. In the vast landscape of written expression, the question of whether to italicize titles can be a labyrinthine endeavor, navigating the subtle nuances that distinguish literary works.

As we embark on this linguistic odyssey, we’ll unravel the conventions, explore the historical threads that weave through italics, and delve into the practicalities of emphasizing titles within the written tapestry.

So, do you italicize titles? Join us on this literary sojourn as we demystify the art of italicization and unveil the stylistic symphony that it brings to the written word.

Whether you’re a seasoned wordsmith or a burgeoning scribe, this exploration promises to shed light on the intricacies of title formatting, inviting you to wield italics with finesse and purpose in the vast expanse of language.

Table of Contents

Do You Italicize Titles?

Yes, you italicize titles when writing to indicate the title of a longer work, such as a book, movie, play, or magazine. Follow these steps:

Books, Magazines, Newspapers, Journals

Italicize the titles of complete works like books (e.g., To Kill a Mockingbird), magazines (e.g., National Geographic), newspapers (e.g., The New York Times), and journals (e.g., Journal of Psychology).

Movies and TV Shows

Italicize the titles of films (e.g., The Shawshank Redemption) and TV shows (e.g., Stranger Things).

Plays and Operas

Italicize the titles of plays (e.g., Hamlet) and operas (e.g., Carmen).

Albums and Songs

Italicize the titles of albums (e.g., The Dark Side of the Moon) and songs (e.g., Bohemian Rhapsody).

Artworks and Sculptures

Italicize the titles of paintings (e.g., Starry Night) and sculptures (e.g., David).

Websites and Online Publications

Italicize the names of websites (e.g., Wikipedia) and online publications (e.g., The Huffington Post).

Names of Ships and Aircraft

Italicize the names of ships (e.g., Titanic) and aircraft (e.g., Spirit of St. Louis).

Foreign Words and Phrases

Italicize foreign words or phrases that are not part of common English usage.

Remember, when writing by hand or in a situation where italics are not possible, you can underline titles instead. Additionally, short works like poems, articles, and short stories are typically placed in quotation marks rather than italicized.

General Rules for Italics

Unlock the door to a world of typographic elegance as we delve into the enchanting realm of italicization. Like the subtle curve of a dancer’s silhouette, italics bestow a touch of sophistication upon the written word, transforming mere titles into majestic declarations.

The general rules for italics are akin to the seasoned conductor guiding a symphony—each element plays a crucial part.

Whether it’s the weighty volumes of books demanding attention, the silver screen allure of movies, or the captivating drama scripted within plays, italics paint a canvas of distinction.

This typographic magic extends to the sonorous notes of long poems and the rhythmic beats of music albums, creating a harmonious symphony of visual eloquence.

Prepare to be transported to a world where words don’t just speak; they pirouette, leaving an indelible mark on the reader’s imagination. Welcome to the theatre of italics, where every title is a leading star in the grand production of language.

Titles of Books

Titles of books, those literary treasures that beckon us into worlds unknown, stand as the heralds of intellectual exploration.

In the vast tapestry of written expression, books emerge as the venerable monarchs, their titles encapsulating the essence of entire universes waiting to be unfurled.

The careful italicization of these titles not only pays homage to their significance but also acts as a visual cue, inviting readers to embark on a journey of wordsmithing wonder.

Each italicized title becomes a portal, a gateway to realms where characters breathe life, and narratives weave tapestries of emotions.

Whether it’s the whispering secrets of fiction, the bold expositions of non-fiction, or the lyrical verses of poetry, the italicized titles of books are the keys to unlocking the boundless potential of human imagination.

In the hallowed halls of literature, the artful presentation of book titles in italics is an invitation—an invitation to traverse the limitless landscapes of knowledge and creativity.

Specific Cases for Italics

Within the labyrinth of language, italics emerge as the enigmatic sorcerers, casting spells of emphasis and distinction. In the realm of specific cases for italics, their prowess becomes even more apparent.

Picture this: titles within titles become nesting dolls of emphasis, a literary matryoshka capturing layers of significance within words.

As your eyes dance across the page, italics gracefully encircle foreign words and phrases , offering linguistic passports to exotic realms of expression.

And behold the italicized flourish when words crave emphasis, as if they donned a bespoke suit for a grand entrance onto the stage of sentences.

Specific cases for italics are the hidden alcoves in the mansion of typography, where the ordinary becomes extraordinary, and every word is a protagonist in its own narrative.

Brace yourself for a typographic spectacle, where italics don’t just punctuate; they pirouette through the prose, leaving an indelible mark on the reader’s psyche.

Titles within Titles

Titles within titles, a literary rendezvous where words engage in a delicate dance of emphasis and distinction. Like Russian nesting dolls of language, the italicized inception of one title within another creates a mesmerizing effect, a literary echo that resonates with nuanced significance.

Picture a story within a story, a tantalizing narrative inception, where each layer of italics serves as a threshold to a new dimension of meaning.

It’s not just about words; it’s a typographic artistry that invites readers to explore the labyrinthine corridors of a tale within the tale.

The subtlety of italicized titles within titles is akin to an eloquent whisper amid the cacophony of words, urging readers to pay heed to the nuanced layers beneath the surface.

This typographic play within the pages is a testament to the kaleidoscopic nature of language, where each title is not just a signpost but a gateway to a literary universe within.

Alternatives to Italics

In the symphony of typographic choices, where italics wield their elegant baton, alternatives to this classic maestro emerge as bold soloists, each playing a distinctive note in the composition of written expression.

Quotation marks, the rebellious rockstars of punctuation, strut onto the stage, offering a dynamic alternative to the italicized subtlety.

Capitalization, the regal monarch of written form, asserts its authority, standing tall as a formidable contender. These alternatives aren’t mere understudies; they are the co-stars in the typographic drama, challenging the status quo with their unique flair.

Imagine a narrative where words gleam in the spotlight of quotation marks or where the grandiosity of capitalization commands attention.

These alternatives to italics are not just substitutes; they are stylistic choices that infuse the written word with a distinctive rhythm, making each sentence a memorable verse in the symphony of storytelling.

Step into the arena of typographic experimentation, where alternatives to italics are the avant-garde artists, injecting vibrancy into the canvas of language.

Use of Quotation Marks

The use of quotation marks, those nimble acrobats of punctuation, introduces a captivating rhythm to the written symphony.

Quotation marks are not just functional signposts; they are the stage upon which dialogue, excerpts, and verbatim expressions take center spotlight.

Like a pair of literary parentheses, they cradle the spoken words, giving them a distinctive identity within the narrative tapestry.

Picture the flutter of quotation marks as characters engage in a verbal ballet, their voices resonating with a unique cadence.

It’s not merely about delineating speech; it’s an intimate choreography where the dance of words is adorned with the elegant grace of punctuation.

In the theater of language, the use of quotation marks is akin to a director’s cue, signaling the entrance of dialogue and lending an animated quality to the written script.

Whether crafting fiction or relaying real-world conversations, the judicious use of quotation marks transforms the written word into a symphony of voices, each note resonating with the reader’s imagination.

Style Guides and Their Recommendations

Enter the realm of literary sherpas, where style guides stand as wise guides, illuminating the treacherous path of punctuation and formatting.

These literary luminaries, be it the stern commander of the Modern Language Association (MLA), the discerning tactician of the American Psychological Association (APA), or the eloquent maestro of the Chicago Manual of Style, don’t just wield rules; they conduct a symphony of writing conventions.

Style guides are the Gandalfs of the manuscript, whispering, “You shall not pass!” to inconsistencies and haphazard formatting.

Each guide, with its own set of commandments, becomes the North Star in the inky expanse of authorial uncertainty.

Embarking on a writing journey without consulting these sages is like navigating a stormy sea without a compass.

In the grand tapestry of language, style guides aren’t just advisors; they are the keepers of the sacred flame of consistency, ensuring that every word, every comma, adheres to the hallowed doctrines of the written craft.

Modern Language Association (MLA)

The Modern Language Association (MLA), a venerable institution in the world of academia and literary scholarship, stands as a guiding beacon for writers navigating the labyrinth of citation and formatting.

Founded in 1883, the MLA has evolved into a stalwart guardian of scholarly communication, shaping the standards for research papers, essays, and manuscripts.

With its iconic parenthetical citations and meticulous guidelines, the MLA acts as a linguistic architect, constructing a framework that ensures clarity, consistency, and intellectual rigor in written discourse.

Academics and students alike bow to the MLA as a steadfast mentor, offering a roadmap through the intricate terrain of documentation and citation, allowing ideas to flow seamlessly from one mind to another.

In the grand mosaic of writing conventions, the MLA is a cornerstone, a testament to the timeless pursuit of precision and elegance in the written word.

Common Mistakes to Avoid

In the captivating ballet of language, where every word pirouettes across the stage, common mistakes can be likened to missteps that disrupt the rhythm of the narrative waltz.

Picture this literary dancefloor, where the misplaced twirl of a comma or the clumsy stumble of inconsistent formatting can lead to a typographic fiasco.

One of the cardinal sins is the mischievous misuse of italics, turning what should be a graceful emphasis into a chaotic cacophony.

Beware the overzealous italicizer, for too much emphasis can be as jarring as a poorly tuned instrument in a symphony.

Another pitfall is the sly inconsistency that lurks in the shadows, waiting to trip up unsuspecting writers. It’s a masquerade ball where punctuation masquerades as its grammatical counterpart, leaving sentences in disarray.

In this intricate dance of syntax, let’s not forget the dangers of neglecting the meticulous proofreading tango—a dance with typos and errors that can mar the elegance of the written performance.

In the grand theater of writing, these common mistakes aren’t just blunders; they are the mischievous sprites that threaten to turn eloquence into chaos. Dance wisely, dear writers, and may your prose glide gracefully through the literary ballroom.

Misuse of Italics

The misuse of italics in the written landscape is akin to a misplaced spotlight on the stage; instead of highlighting brilliance, it casts a glaring distraction.

This typographic misdemeanour is a subtle saboteur, transforming what should be a nuanced emphasis into an unwarranted spectacle.

A heavy-handed approach turns prose into a visual rollercoaster, where every word clamors for attention, robbing the reader of the gentle cadence that italics should provide.

It’s the equivalent of shouting in a library when a hushed whisper would suffice. The misuse of italics disrupts the delicate dance of language, diminishing the impact of truly significant words by drowning them in a sea of slanting letters.

Writers beware, for in the labyrinth of emphasis, a misstep with italics can turn a literary ballet into a chaotic mosh pit, leaving readers bewildered rather than captivated.

Practical Examples

Imagine the world of writing as a grand culinary expedition, and practical examples are the delectable ingredients that add flavor to the prose feast.

They are the saffron strands in a literary paella, the truffle shavings on the linguistical risotto. Practical examples aren’t just garnishes; they are the succulent bites that elucidate complex ideas and infuse the narrative with the richness of real-world application.

Much like master chefs crafting a gastronomic symphony, writers utilize practical examples to elevate their storytelling to a sensory experience.

These examples aren’t mere illustrations; they are the vibrant strokes that paint vivid images in the reader’s mind, turning abstract concepts into palpable realities.

So, as you embark on your literary banquet, savor the practical examples, for they are the secret sauce that transforms words into a literary feast for the mind.

Correct Italics Usage

Correct italics usage is the secret handshake of eloquent communication, a nuanced dance that adds finesse to the written language.

It is the judicious art of emphasis, guiding the reader’s gaze to the heart of the narrative with a subtle slant. Like a skilled conductor orchestrating a symphony, correct italics usage ensures that titles of books, movies, and plays step onto the stage with the regal flair they deserve.

It’s a typographic ballet where foreign words and phrases, adorned in italics, pirouette with grace amidst the prose.

Correct italics usage isn’t just about adherence to rules; it’s about infusing the written word with a visual melody that resonates in the reader’s mind.

It’s a punctuation ballet where every italicized note plays a vital role in harmonizing the symphony of expression. In the realm of language, correct italics usage is the well-timed crescendo, enhancing the resonance of each written composition.

Evolution of Italics Usage

Dive into the riveting narrative of italics, where each slanting serif tells a tale of evolution in the grand tapestry of language.

Once a humble tool for emphasis, italics have donned many masks over the centuries, morphing from typographic wallflowers into bold trendsetters.

Picture the Renaissance, where italics burst forth like eager buds in the spring, breathing life into the manuscripts of scholars and poets.

Fast forward to the digital age, and italics become the chameleons of expression, adapting seamlessly to the screens of our electronic devices.

No longer confined to the solemnity of the printed page, italics have become the graffiti artists of the written word, splashing slanted flair across social media and digital platforms.

The evolution of italics is a literary journey, a metamorphosis from quill and parchment to the pixelated playgrounds of modern communication.

In this typographic saga, italics aren’t just punctuation marks; they are shape-shifters, navigating the currents of evolving expression with unmatched finesse.

Historical Perspective

Embark on a voyage through the corridors of time, where the historical perspective of italics unfolds like an ancient manuscript waiting to be deciphered.

Italics, with its roots reaching back to the 15th century Italy, emerges as a testament to the craftsmanship of early typographers.

Initially conceived as a handwriting style to emulate the elegance of calligraphy, italics found its way into the printing press, becoming the hallmark of emphasis in early manuscripts.

The Renaissance saw italics bloom, with scholars and printers recognizing its potential to lend emphasis and visual harmony to written works.

Through quills and printing presses, italics became a silent witness to the epochs, adapting to the changing winds of writing conventions.

As the epochs unfolded, italics transcended the ink-and-paper realm, finding a new life in the digital age. In the historical tapestry of typographic evolution, italics stand as a timeless artifact, weaving a narrative that spans centuries and continents.

Frequently Asked Questions about Do You Italicize Titles?

When should i italicize titles.

Titles of longer works, such as books, movies, plays, and magazines, should be italicized. This helps distinguish them from shorter works like poems or articles .

Do I italicize titles in all writing styles?

Yes, most writing styles, including MLA, APA, and Chicago, recommend italicizing titles for longer works. However, styles may vary, so it’s essential to follow the guidelines of the specific style you’re using.

Are there exceptions to italicizing titles?

Yes, shorter works like poems, articles, and short stories are usually placed in quotation marks instead of being italicized. Additionally, specific style guides may have exceptions for certain types of works.

Can I use underlining instead of italics for titles?

Yes, when typing is not possible or practical, you can underline titles as an alternative to italics. However, it’s essential to be consistent in your choice throughout your writing.

How about titles of TV shows and songs? Do they follow the same rule?

Yes, titles of TV shows (e.g., Breaking Bad) and songs (e.g., Bohemian Rhapsody) should be italicized or placed in quotation marks, depending on the preference of your chosen writing style.

What about titles in social media posts or informal writing?

In more casual writing, such as social media posts or informal emails, italics may be less strictly adhered to. However, maintaining consistency in your formatting enhances clarity and professionalism.

Do foreign words or phrases need to be italicized?

Yes, foreign words or phrases that are not part of common English usage should be italicized. This helps readers recognize and distinguish them in the text.

How do I format titles if I’m writing by hand?

If italics are not feasible, you can underline titles when writing by hand. The goal is to visually set the title apart from the rest of the text.

Should I italicize titles of online publications and websites?

Yes, titles of websites (e.g., CNN) and online publications (e.g., The Guardian) should be italicized to indicate they are longer, standalone works.

Can you provide examples of when to italicize and when to use quotation marks?

Certainly! For instance, you italicize a book title (The Great Gatsby) but use quotation marks for a short story title (“The Lottery”). Consistency in applying these rules is key for clarity and correctness in writing.

In conclusion, understanding when to italicize titles is a fundamental aspect of proper writing conventions.

Whether you are crafting an academic paper, a creative work, or even a social media post, the consistent application of italicizing titles for longer works like books, movies, and plays, and using quotation marks for shorter works like poems and articles, contributes to the clarity and professionalism of your writing.

While variations exist among different writing styles, maintaining awareness of these guidelines ensures that your titles are appropriately formatted, making it easier for readers to navigate and comprehend your content.

So, the next time you find yourself pondering whether to italicize a title, consider the type of work and adhere to the conventions of the writing style you are following for a polished and well-structured piece.

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Titles in Essays (Italics or Quote Marks?)

4-minute read

• 26th February 2018

Formatting your own essay title is easy (just bung a Heading style on it). Unfortunately, the rules about formatting the titles of existing published works (e.g. a textbook or an article from a journal) are more complicated. Usually, though, it comes down to one question: italics or quote marks?

But most students will need to name a book, journal or website in an essay at some point, so it’s important to know how this works. To help you out, we’ve prepared this guide on when to use italics and when to use quote marks for titles.

When to Use Italics

Titles of longer works are usually italicised. A ‘longer work’ in this case is something presented as a standalone publication. Charles Dickens’ famous novel, for example, would be written as Great Expectations if it were named in an essay.

Other examples of longer works that should be italicised include:

• Books and book-length poems (e.g. ‘An analysis of The Wasteland shows…’)
• Journals, newspapers and magazines (e.g. ‘According to The Guardian …’)
• Websites and blogs (e.g. ‘The project was funded via Unbound …’)
• Films (e.g. ‘ Jaws broke several box-office records…’)
• TV series (e.g. ‘Many fans of The X-Files claim…’)
• Plays and other stage shows (e.g. ‘This production of Swan Lake is…’)
• Paintings and works of art (e.g. ‘The Mona Lisa is currently housed…’)
• Music albums (e.g. ‘The album Sticky Fingers was released in…’)

The key factor is that all of these are standalone products, not part of a greater whole. The main exceptions to this rule are holy texts, such as the Bible, which are not typically italicised.

Italics are also used for the names of particular vehicles in some cases, especially ships and spacecraft. For example, we might write about the space shuttle Enterprise or the HMS Beagle (note that the ‘HMS’ is not italicised, since this is an abbreviation).

When to Use Quote Marks

Quote marks , meanwhile, are usually saved for shorter works. These are often part of a larger publication, such as an article in a newspaper or a chapter in an edited book. For example, if we were to name a book and a chapter in one place we’d write:

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Hugh Wilder’s ‘Interpretive Cognitive Ethology’ was first published in Readings in Animal Cognition , edited by Marc Bekoff and Dale Jamieson.

As indicated by the italics, the book here is called Readings in Animal Cognition . ‘Interpretive Cognitive Ethology’, meanwhile, is an essay from the book, so we use quote marks for this title.

Cases where quotation marks are used for titles include:

• Chapters from books
• Articles in newspapers, magazines and journals
• Particular pages or articles from a website
• Individual poems and short stories
• Episodes from a TV show

It is also common to use quote marks for unpublished writing regardless of length. For example, if you were referring to an unfinished manuscript or a PhD dissertation, you would put the title in quote marks; but if these same documents were published, you would use italics.

Look Out for Exceptions!

The guidelines above will apply in most cases, but there are exceptions. The APA style guide, for example, recommends italicising book titles in the main text of an essay, but not in the reference list. As such, it is wise to check your style guide to see if it has specific advice on formatting titles.

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Do You Italicize Article Titles? (Ultimate Citation Guide)

Do you italicize article titles? Put them in quotes? Underline them? If you’ve ever struggled with how to format titles, this blog post is for you.

Do you italicize article titles?

No, you do not italicize article titles. You place article titles in double quotation marks. This formatting rule applies to article titles in MLA, APA, Chicago Style, scholarly journals, magazines, newspapers, online, and most reference sections.

In this article, we’ll look at 11 specific scenarios so that we cover all the bases and answer all of your questions (Hint: only one scenario has an exception).

Do You Italicize Article Titles: Summary of Answers

I thought you might appreciate a summary table right here at the beginning.

I wanted to keep the table super simple so I only included two categories—type of content and whether or not you italicize it.

Check it out below:

Table of Contents

You might consider bookmarking this article in your favorite internet browser so that you can come back to this information anytime you want for a quick refresher.

Do Article Titles Get Italicized? (The One Exception)

You do not italicize article titles. You almost always place double quotation marks around article titles.

The only time you detour from quotation marks is when you write titles in an APA-style reference list. In that case, you write the title without any special formatting (italics, quotation marks, or underlining).

That’s the simple, direct answer.

Here are two simple examples of a properly formatted article title:

Wrong: Is Superman a Pisces

Right: “Is Superman a Pisces?”

Now, let’s look at other specific questions you might ask yourself when writing.

Do You Italicize Article Titles in MLA?

No, you do not italicize the titles of articles in MLA. You place the article title in quotes.

Here are two examples:

Wrong: 5 Signs He’s Too Tall For You

Right: “5 Signs He’s Too Tall For You”

Here’s an example of a complete MLA citation from a real article:

Kokoski, Christopher. “How To Become a Fortune Cookie Writer.” Christopher Kokoski, 16 Apr. 2021, www.writingbeginner.com/how-to-become-a-fortune-cookie-writer.

MLA , by the way, stands for Modern Language Association. The MLA Handbook is basically a stylebook for how to write information, format documents, and cite sources.

Do You Italicize Article Titles in APA?

You do not italicize article titles in APA. You place double quotation marks around the titles of articles.

Wrong: Will Ferrell Loves Baby Jesus

Right: “Will Ferrell Loves Baby Jesus”

APA stands for the American Psychological Association . APA is another style of writing, formatting, and citing information.

Do You Italicize Article Titles in APA References?

No, you do not italicize article titles in APA references or citation lists. You also don’t need to underline the title or put the title in quotes. You simply write the article title without any special formatting.

I understand the confusion when it comes to referencing sources in a list of citations at the end of a paper or article. The rule on titles is still “No, don’t italicize article titles,” but that doesn’t tell you WHAT to do.

The answer is that you don’t need to do anything at all. You simply list the title. Note that this is the ONLY exception to the answer in the answer box image at the beginning of this post.

Still, you don’t italicize the article title.

Wrong: Kokoski, C. (2021, April 16). How To Become a Fortune Cookie Writer . Christopher Kokoski. https://www.writingbeginner.com/how-to-become-a-fortune-cookie-writer/

Right: Kokoski, C. (2021, April 16). How To Become a Fortune Cookie Writer . Christopher Kokoski. https://www.writingbeginner.com/how-to-become-a-fortune-cookie-writer/

Keep in mind that style handbooks, like APA, tend to change over time. It’s a good idea to always check with the latest version of the APA style guide.

Do Journal Article Titles Get Italicized?

You do not italicize journal articles. You place double quotation marks around the title of journal articles in MLA and do not format the title of the journal articles at all in APA.

The confusion with scholarly journals is that you italicize the name of the journal, but you place quotes around the title of the articles in the journal. There is also a difference between the rules for MLA and APA-style reference lists.

However, in all cases, you do not italicize the title of journal articles.

Here are examples from MLA:

Wrong: Shamblen, Stephen & Kokoski, Christopher & Collins, David & Strader, Ted & Mckiernan, Patrick. (2017). Implementing Creating Lasting Family Connections with reentry fathers: A partial replication during a period of policy change . Journal of Offender Rehabilitation. 56. 1-13. 10.1080/10509674.2017.1327917.

Right: Shamblen, Stephen & Kokoski, Christopher & Collins, David & Strader, Ted & Mckiernan, Patrick. (2017). “Implementing Creating Lasting Family Connections with reentry fathers: A partial replication during a period of policy change.” Journal of Offender Rehabilitation. 56. 1-13. 10.1080/10509674.2017.1327917.

Do You Italicize Article Titles in Chicago Style?

What about Chicago Style? This is a good question since some of the “rules” are different between the style guides. However, the rule for italicizing article titles is the same.

You do not italicize article titles in Chicago Style. You place the title of the article in quotation marks.

Here are a few examples of Chicago Style :

Wrong: His article, Writing Love Squares: 13 Things You Need To Know , made some fascinating points!

Right: His article, “Writing Love Squares: 13 Things You Need To Know,” made some fascinating points!

Do Newspaper Article Titles Get Italicized?

You do not italicize the title of articles in newspapers. You place the title in double quotation marks. However, you do italicize the name of the newspaper.

Here are examples:

Wrong: Her article, Salvation by Dessert , appeared in The New York Times .

Right: Her article, “Salvation by Dessert,” appeared in The New York Times .

Note that, in these examples, the title of the specific article is in quotes but the title of the newspaper is italicized.

Should Any Article Titles Be Italicized?

You never italicize any entire article titles. You might, however, italicize unfamiliar foreign words or the titles of books you mention within an article title. But you do not italicize the entire article title under any circumstance.

I know this is somewhat of a repeat of the first question in the article, but sometimes I find it helpful to ask (and answer) the silly questions that summarize the information in a blog post.

Hopefully, this slight repeat helps you as it might help others.

For the sake of clarity, here are more examples of how to format article titles:

Wrong: The Problem With Smurfette

Right: “The Problem With Smurfette”

Since we’re about to look at a few rare scenarios you might face, here is a short video from Khan Academy to really nail down how to use quotation marks in titles:

Do You Italicize Foreign Words in Article Titles?

What about foreign words within the title of your article?

The Chicago Manual of Style says:

Italicize individual foreign words or short phrases that readers might not understand. Therefore, you should italicize only the unfamiliar foreign word or phrase within the title. Place quotation marks around the complete title of the article.

How do you know if a foreign word will confuse readers?

You check the English dictionary. If a foreign word or short phrase appears in the English dictionary, you probably don’t need to italicize it. If the word or phrase doesn’t appear in the English dictionary, then you can safely italicize it.

Just remember to place double quotation marks around the entire article title.

Wrong: The Best Teachers Embrace Juegos in the Classroom

Right: “The Best Teachers Embrace Juegos in the Classroom”

Do You Italicize the Title of Books in Your Article Title?

This is another very special circumstance.

You do not italicize article titles. If you name a book in the title of your article, you italicize only the name of the book. The entire article title is placed in quotation marks.

Here is an example:

Wrong: How Wicker Hollow Changed the Way I View Thriller Fiction

Right: “How Wicker Hollow Changed the Way I View Thriller Fiction”

Note: Wicker Hollow is the title of a book (in this case, it’s a book I wrote).

Do You Italicize the Title of Other Articles in Your Article Title?

This is a somewhat confusing question to ask, but I’ll try to clarify.

Sometimes you include the title of another article inside your article title. For example, imagine that you want to write an article about another, separate article.

When you reference another article in your article title, you italicize only the other, referenced article. However, the overall title of your article is not italicized. Rather, you place your article title in quotes.

Let’s look at a concrete example. Perhaps you read an article titled, “Fan Fiction 101,” and want to write about it. You decide to write your own article that references, “Fan Fiction 101”.

Here is the wrong and right way to format your article title:

Wrong: “My Take on the ‘Fan Fiction 101’ Viral Trend”

Right: “My Take on the Fan Fiction 101 Viral Trend”

Automatic Citation Generator

By the way, even though we already answered the question “Do you italicize article titles?”, I thought you might like a quick shortcut I use for citing sources.

My favorite automatic citation generator is made by Scribbr . It’s not perfect, but it usually works like a charm when I need a quick, accurate citation.

Best of all, it is free and generates:

• MLA citations
• APA citations
• Chicago Style citations

Final Thoughts: Do You Italicize Article Titles?

Thank you for reading this article. I hope you found all the answers you wanted (and then some).

If you enjoyed this post, you might also like these other articles:

• Why Do Writers Hate Adverbs (The Final Answer)
• Is Social Media Good or Bad For Writers? (The Final Answer)
• My Most Recommended Tools for Writers

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What about MLA format?

All research papers on literature use MLA format, as it is the universal citation method for the field of literary studies. Whenever you use a primary or secondary source, whether you are quoting or paraphrasing, you will make parenthetical citations in the MLA format [Ex. (Smith 67).] Your Works Cited list will be the last page of your essay. Consult the OWL handout on MLA for further instructions.

Note, however, the following minor things about MLA format:

• Titles of books, plays, or works published singularly (not anthologized) should be italicised unless it is a handwritten document, in which case underlining is acceptable. (Ex. Hamlet , Great Expectations )
• Titles of poems, short stories, or works published in an anthology will have quotation marks around them. (Ex. "Ode to a Nightingale," "The Cask of Amontillado")

Tip If you're using Microsoft Word, you can easily include your name and page number on each page by following the these steps:

• Open "View" (on the top menu).
• Open "Header and Footer." (A box will appear at the top of the page you're on. And a "Header and Footer" menu box will also appear).
• Click on the "align right" button at the top of the screen. (If you're not sure which button it is, hold the mouse over the buttons and a small window should pop up telling you which button you're on.)
• Type in your last name and a space.
• Click on the "#" button which is located on the "Header and Footer" menu box. It will insert the appropriate page number.
• Click "Close" on the "Header and Footer" window.

That's all you need to do. Word will automatically insert your name and the page number on every page of your document.

What else should I remember?

• Don't leave a quote or paraphrase by itself-you must introduce it, explain it, and show how it relates to your thesis.
• Block format all quotations of more than four lines.
• When you quote brief passages of poetry, line and stanza divisions are shown as a slash (Ex. "Roses are red, / Violets are blue / You love me / And I like you").
• For more help, see the OWL handout on using quotes .

Home / Guides / Citation Guides / Citation Basics / Do You Italicize Article Titles?

Do You Italicize Article Titles?

No, typically you don’t italicize article titles. Instead, you may enclose article titles in double quotation marks (MLA 9: “Article Title”) or simply use regular font without quotation marks (APA 7: Article title). The exact format for article titles depends on the style guide you’re using. Different academic disciplines use different style manuals that follow differing rules. However, generally, you do italicize the larger work of which the article is a part ( Journal/Magazine/Newspaper Title ) . 

Let’s look at how MLA 9, APA 7, and Chicago styles handle title formatting for articles.

MLA 9 Style for Article Titles

Since journal, magazine, and newspaper articles are part of a larger standalone work, you use regular font (not italics) for article titles and double quotation marks in MLA 9 style.

Here is a template for a magazine article in MLA 9-style:

Author Last Name, First Name. “Title of the Article.” Magazine Title , Publication Month. Year, pp. #-# or URL.

Here is an MLA 9-style reference list entry example for a magazine article:

Parker, James. “An Ode to My Thesaurus.” The Atlantic , July-Aug. 2022, https://www.theatlantic.com/magazine/archive/2022/07/an-ode-to-my-thesaurus/638453/

Notice the regular font for the magazine article and the italics for the magazine title:

• Article title: “An Ode to My Thesaurus”
• Magazine title : The Atlantic

MLA 9’s style manual uses the term containers for larger standalone works. For example, a book is a container for a chapter. Here are more container examples:

• Container –> Item in container
• Album –> Song
• Book –> Chapter
• Journal –> Article
• Television show/series –> Episode
• Newspaper or Magazine Publication –> Interview

Standalone works or containers are italicized . That includes the titles of the following:

• Journal Titles
• Magazine Titles
• Newspaper Titles
• Photo/Image/Painting
• Television series
• Webpages/Websites

Works contained within a standalone work should be enclosed in double quotation marks. In the works-cited entry, these titles are placed before the container’s, or standalone work’s, title. Titles of works that are part of larger standalone works include the following:

• Book chapters
• Interviews in a magazine
• Journal articles
• Magazine article
• Newspaper article
• Short stories
• Song on an album
• Webpage/Website articles

APA 7 Style for Article Titles

Since journal, magazine, and newspaper articles are part of a larger standalone work, you use regular font (not italics) for article titles in APA style.

Here is a template for a journal article in APA 7-style:

Author Last Name, First Initial. Middle Initial. (Publication Year). Title of the journal article: Subtitle of article. Title of the Journal, VolumeNumber (IssueNumber), Page#-#. URL.

Here is an APA 7-style reference list entry example for a journal article:

Jacoby, W. G. (1994). Public attitudes toward government spending. American Journal of Political Science, 38 (2), 336-361. https://doi.org/10.2307/2111407

Notice the regular font for the journal article and the italics for the journal title:

• Article title: Public attitudes toward government spending.
• Journal title : American Journal of Political Science

In APA 7, you italicize titles of sources that stand alone. Standalone sources are not part of another work. Standalone works that you italicize in APA include:

• Journal Titles ( not journal articles)
• Magazine Title
• Music Album ( not a song on the album)
• Newspaper Title
• Podcast ( not a podcast episode)
• Television Series
• YouTube Video

Works that are just a part of another work, like a chapter in a book, are not italicized. Sources that are part of another work and in regular font in APA include:

• Edited Book Chapters
• Journal Articles
• Magazine Articles
• Newspaper Articles
• Podcast episodes
• Songs on an album
• Television episodes

Chicago Style (17th ed. notes-bibliography format)

Since journal, magazine, and newspaper articles are part of a larger standalone work, you use regular font (not italics) and quotation marks for article titles in Chicago style.

Here is a template for a newspaper article in Chicago-style:

• Author First Name Last Name, “Newspaper Article Title,”  Newspaper Title , Publication Month Day, Year, URL.

Bibliography:

Author Last Name, First Name. “Newspaper Article Title.” Newspaper Title , Publication Month Day, Year. URL.

Here are Chicago-style note and bibliography entry examples for a newspaper article:

• Emmett Lindner, “Keeping Up With Crypto,” New York Times , June 3, 2022, https://www.nytimes.com/2022/06/03/insider/keeping-up-with-crypto.html.

Lindner. Emmett. “Keeping Up With Crypto.” New York Times , June 3, 2022. https://www.nytimes.com/2022/06/03/insider/keeping-up-with-crypto.html.

Notice the regular font for the newspaper article and the italics for the newspaper title:

• Article title: “Keeping Up With Crypto”
• Newspaper title : New York Times

In Chicago style, you italicize titles of sources that stand alone. Standalone sources are not part of another work. Standalone works that you italicize in Chicago include:

Works that are just a part of another work, like a chapter in a book, are not italicized. Sources that are part of another work and in regular font in Chicago style include:

Citation Guides

• Annotated Bibliography
• Block Quotes
• Citation Examples
• et al Usage
• In-text Citations
• Page Numbers
• Reference Page
• Sample Paper
• APA 7 Updates
• View APA Guide
• Bibliography
• Works Cited
• MLA 8 Updates
• View MLA Guide

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The article title does not appear in in-text citations. It appears only in the corresponding works-cited-list entry. To cite the article title in MLA style in your works cited list, you need to follow the format given in the below template. An example of an article written by a single author is given for your understanding.

Works cited list template and example

The title of the article is in plain text and title case; it is placed inside quotation marks. Follow the punctuation and formatting as given in the example.

Surname, First Name. “Title of the Article.” Journal Title , volume #, issue #, publication date, page range.

Etchells, Tim. “On the Skids: Some Years of Acting Animals.” Performance Research , vol. 5, no. 2, 2000, pp. 55–60.

The article title of a journal, newspaper, or magazine is never italicized in either APA or MLA style. In APA style, the article title is given in plain text and sentence case. In MLA style, the article title is written in title case and given in quotation marks.

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What Titles Get Italicized When Writing? The Full Guide

My name is Debbie, and I am passionate about developing a love for the written word and planting a seed that will grow into a powerful voice that can inspire many.

The Basics: Understanding Italics in Writing

When to use italics for titles: a common dilemma, full-length works, shorter works, formatting guidelines: style manuals to the rescue.

• for subheadings, and for further subdivisions help you achieve this effortlessly. 3. Emphasize important details: Utilize the power of bold to emphasize key terms or phrases. This will catch your reader’s attention and help them focus on crucial information within your text. 4. Bullet points for clarity: When presenting a series of related points or items, opt for bulleted lists. This format increases visual appeal, aids in comprehension, and encourages a quick scanability of information. 5. Citations made easy: To avoid plagiarism and give proper credit to your sources, consult the appropriate citation style recommended by your style manual. Whether it’s APA, MLA, or Chicago, adhere to the rules and guidelines to ensure accurate and consistent citation within your work. Remember, by adhering to the guidelines provided by style manuals, you can tackle formatting roadblocks with ease, creating professional and polished documents that will impress readers and elevate your written work to new heights. So dive into the valuable world of style manuals and make your formatting fears a thing of the past! Book Titles: Proper Italics Usage

Movies, TV Shows, and Plays: Navigating Titles in Italics

What about articles, essays, and short stories, brand names and product titles: to italicize or not, exceptions to the rule: handy tips for tricky cases, frequently asked questions, in retrospect.

Italics play a crucial role in enhancing the visual presentation and clarity of written content. When used correctly, they can provide emphasis, indicate foreign words or phrases, and differentiate titles of works. Here’s a breakdown of how to effectively utilize italics in your writing:

1. Emphasis: Italics are commonly used to emphasize specific words or phrases, adding weight and significance to them. By setting them apart from the surrounding text, italics draw readers’ attention and create emphasis, making those words stand out. For example, instead of saying, “I really love that song,” you can say, “I really love that song.” The emphasis on “love” conveys a stronger sentiment.

2. Foreign Words or Phrases: When incorporating foreign terms into your writing, italics are used to indicate that these words or phrases are not in the language of the main text. This helps the reader understand that the word is being used from another language and may not have a direct translation. For instance, if you were describing a French dish in an English article, you might write, “The hors d’oeuvres were absolutely delicious.” By italicizing “hors d’oeuvres,” you indicate that it is a non-English term.

Types of Titles

There are numerous types of titles that can appear in writing, including book titles, movie titles, poem titles, article titles, and more. When it comes to deciding whether to use italics for these titles, it can often be a common dilemma. However, understanding the guidelines can help you make the right choice.

When it comes to full-length works such as books, movies, or plays, it is generally recommended to italicize the title. This helps to differentiate the complete work from other elements within the text. Additionally, if you are writing within a formal setting, such as in academic papers or articles, following this guideline is crucial for maintaining consistency and adhering to standard writing conventions.

On the other hand, shorter works like articles, chapters, or poems are typically placed in quotation marks instead of being italicized. Using quotation marks helps to indicate that the title is part of a larger work. This is especially important when referencing shorter pieces within a longer body of text or when citing sources. For example, when writing an essay, you would italicize the book containing multiple chapters, but put the individual chapter title or article title in quotation marks.

Understanding when to use italics versus quotation marks for titles is important in order to accurately convey the intended meaning and provide clarity to your readers. By following these guidelines, you can navigate the common dilemma of whether to use italics for titles and ensure your writing maintains a polished and professional appearance.

For those who find themselves swimming in a sea of confusion when it comes to formatting, fear not! Style manuals are here to rescue you from the abyss of uncertainty. These invaluable resources provide a comprehensive set of guidelines, facilitating consistency and clarity in your written work. To ensure your documents are well-structured and professional, follow these essential formatting tips:

1. Consistency is key: Remember to use consistent formatting throughout your document. Whether it’s punctuations, headings, or citation styles, maintaining uniformity enhances readability and conveys a sense of professionalism.

2. Headings hierarchy: Arrange your headings hierarchically to create a logical flow within your document. HTML tags like

In the world of literature, italics play a crucial role in emphasizing book titles and creating a visually appealing format. Knowing when to properly use italics can make a significant difference in the professionalism and readability of your work. Here are some helpful guidelines to ensure the correct usage of italics for book titles:

1. **Complete Works**: When referencing a complete book, such as a novel, memoir, or collection of poems, it is important to italicize the title. For example, if you are discussing F. Scott Fitzgerald’s masterpiece, *The Great Gatsby*, remember to italicize the title to distinguish it from the rest of the text.

2. **Partial Works**: On the other hand, when referring to a specific chapter, short story, or essay within a larger collection or anthology, use double quotation marks instead of italics. For instance, if you are analyzing Toni Morrison’s novel, *Beloved*, and want to highlight a specific chapter, like “Rememory,” enclose the chapter title in quotation marks to indicate it is a smaller work within the larger context.

When it comes to distinguishing titles of movies, TV shows, and plays, the use of italics is crucial. Italicizing these titles is a common practice in writing, as it helps to differentiate them from the surrounding text and emphasizes their importance. By following this simple formatting rule, you can ensure that your readers easily recognize the titles and understand the references you make.

To properly navigate titles in italics, remember the following guidelines:

1. Movies: Titles of full-length movies should always be italicized. For example, “The Shawshank Redemption” is an iconic film that captivates audiences with its powerful storytelling. 2. TV Shows: When referring to a TV show, it is important to italicize the title. For instance, “Friends” remains a beloved sitcom that continues to entertain viewers of all ages.

Articles, essays, and short stories are three distinct forms of written expression that offer unique opportunities for writers to convey their thoughts, ideas, and stories to their intended audience.

An article is a piece of writing that focuses on presenting factual information, analysis, or opinion on a particular topic. Whether it’s a news article, a feature article, or an informative blog post, articles aim to provide readers with valuable insights and knowledge. They typically follow a structured format that includes an introduction, body paragraphs, and a conclusion. Articles may also include subheadings, bullet points, and images to enhance readability.

On the other hand, an essay is a more formal and thoughtful piece of writing that explores a specific topic in depth. Essays often present the author’s personal perspective or argument supported by evidence and logical reasoning. They may provide a critical analysis, compare and contrast different viewpoints, or present a persuasive argument. Typically, essays are structured into an introduction, body paragraphs, and a conclusion. They follow a distinct thesis statement, which acts as the central idea guiding the reader through the essay.

Short stories are fictional narratives that focus on a brief incident, a character, or an event. Unlike articles and essays, short stories are a form of creative writing that allows authors to immerse readers in a fictional world of characters and plotlines. These concise narratives can range from thought-provoking to entertaining, often leaving readers with a lasting impact or message. Short stories don’t require extensive background information and are usually composed with a well-defined beginning, middle, and end, highlighting the significance of storytelling skills within a limited space.

When it comes to using brand names and product titles in your writing, one important aspect to consider is whether to italicize them or not. The use of italics can help distinguish these names and titles from the rest of the text, but it is not always necessary or prescribed. Here are a few factors to consider when deciding whether to use italics for brand names and product titles:

1. Consistency: Maintaining consistency throughout your content is crucial for a professional and polished look. If you decide to italicize brand names and product titles, make sure to do so consistently throughout your writing.

2. Brand guidelines: Some brands have specific guidelines for how their names should be presented in writing. It is worth checking the brand’s style guide or website to see if they prefer their name to be italicized or represented in a specific way.

On the other hand, there are situations when italics may not be necessary or preferred:

1. Widely recognized brands: Brands that are well-known and easily identifiable may not require italics. Consider the popularity and recognition of the brand before deciding to italicize it.

2. Clarity and readability: Using italics excessively can be visually distracting and negatively impact the readability of your text. If your content contains multiple brand names or product titles, consider using bold formatting instead of italics to avoid overwhelming the reader.

In the world of rules and norms, there are always exceptions that leave us scratching our heads. When it comes to tricky cases, it’s important to be prepared and armed with knowledge. Here are some handy tips to help you navigate those exception-filled waters:

• Think Outside the Box: Tricky cases often require creative solutions. Break free from the conventional and explore alternative approaches . Embracing flexibility will enable you to find unexpected answers.
• Consult the Experts: When facing an exceptional scenario, seeking advice from specialists can be a game-changer. Whether it’s a legal matter or a complex technical problem, tapping into the expertise of those who specialize in the field can provide invaluable insights and guidance.
• Double-Check the Details: Tricky cases are notorious for their subtle nuances. In these situations, paying attention to the smallest details can make all the difference. Take your time to thoroughly analyze the case, ensuring that no stone is left unturned.

Don’t let tricky cases discourage you. Remember, exceptions exist to challenge us and push the boundaries of our understanding. By thinking creatively, seeking advice, and paying attention to the details, you’ll be better equipped to tackle even the trickiest of cases!

Q: When should I use italics when writing? A: Italics are used to emphasize or highlight specific words, phrases, or titles in written text.

Q: What is the purpose of italicizing titles? A: Italicizing titles helps to distinguish them from regular text and brings attention to their importance or significance.

Q: Which titles are typically italicized in writing? A: Titles of longer works such as books, magazines, newspapers, films, plays, TV shows, music albums, paintings, and sculptures are generally italicized.

Q: Are there any exceptions to italicizing book titles? A: Yes, shorter works like chapters or sections of books, poems, short stories, articles, and essays are usually enclosed in quotation marks, not italicized.

Q: How about italicizing titles of websites, blogs, or web pages? A: In general, website and blog names are not italicized. However, if you are referring to a specific page or article within a website, that title should be italicized.

Q: What about titles of songs or individual music tracks? A: Song titles, along with individual tracks from albums, are typically enclosed in quotation marks, rather than being italicized.

Q: Should I italicize the names of video games? A: Yes, names of video games are typically italicized. It helps differentiate the title from the surrounding text.

Q: Do I need to italicize scientific or research papers? A: Italicization of scientific or research papers is not necessary. However, if you are referring to a specific paper or article within a larger publication, then that title should be italicized.

Q: Is it necessary to italicize foreign words or phrases? A: Italicizing foreign words or phrases helps to distinguish them from the rest of the text. This convention allows readers to recognize that the word or phrase is in a different language.

Q: Are headlines or titles of newspaper articles italicized? A: No, newspaper article titles or headlines are usually not italicized. They are generally written in bold or enclosed in quotation marks.

Q: What is the key takeaway regarding italics in writing titles? A: Remember, italics are used to set certain titles apart from regular text. Longer works such as books, movies, and artworks are typically italicized, while shorter works such as articles, essays, and poem titles go in quotation marks. Following these guidelines will clarify your writing and help readers navigate your text smoothly.

In conclusion, knowing which titles to italicize in writing is essential for clarity and consistency. This guide provides a comprehensive explanation for writers to navigate this often confusing aspect of formatting.

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When To Italicize – The Rules You Need To Know

Updated: December 23, 2022

Published: June 30, 2020

English has a lot of grammatical rules to keep in mind. From the usage of commas to capitalization, knowing how to write properly is an important skill to hone for those in school and beyond. Whether you are writing research papers or formal letters, you’ll come across instances of italicization. Knowing when to italicize is an important skill to master.

Let’s take a look at how italics came to exist and when to italicize. With this guide, you’ll soon be an italics pro!

Photo by Glenn Carstens-Peters on Unsplash

The history behind italics.

Italics is when a typeface is slanted to the right. Like this!

Italics are used to distinguish words from other parts of the text and draw attention. Like underlining, it can create emphasis; therefore, you wouldn’t want to both underline and italicize the same word. Yet, underlining and italicizing may often be used interchangeably.

Underlining was the precursor to italicizing. Once word processors and printers became more sophisticated to handle italics, it has become a popular alternative to underlining.

When To Italicize

With this being said, using italics isn’t always a choice of personal preference. There are rules and guidelines to follow to know when to italicize. Let’s take a look at some of the rules!

7 Rules For Italics

1. emphasis.

Want a word or phrase to stand out in a block of text? Try writing in italics. Example: I went to grab pizza with friends today. It was so delicious that I ate an entire pie. (Notice how you read the word “so” with more emphasis than the rest of the words in that statement).

2. Titles Of Work

The titles of works should be italicized (or underlined). Examples include:

• Books – The Adventures of Huckleberry Finn
• Newspapers – The Los Angeles Times
• Movies – The Dark Knight
• Magazines – People
• Plays – A Streetcar Named Desire
• Works of Art – Frida Kahlo’s The Two Fridas
• TV/radio programs – Friends
• CDs/albums – Drake’s Views

3. Articles

Based on the above, you may be questioning, “Are articles italicized?” Articles are shorter forms of work. As such, they are put into quotation marks rather than italicized. For example, you could write something like: In his article “A Mystery Explained” for The New York Times, the author exposed the details of the crime.

4. Foreign Words

If you’re writing in one language but you want to introduce a word in another language, you may consider italicizing it. For example, “The word for war in Spanish is guerra.”

5. Names Of Trains, Ships, Spaceships

Words that are names of transportation vehicles (with the exception of cars) are italicized. For example, the space shuttle Challenger is in italics.

6. Words As Reproduced Sounds

If you want to write out the way something sounds, then you can leverage italics. To depict, “The bees went bzzz in my ear.” This doesn’t mean that you would write verbs that are sounds in italics. (i.e., “There was a loud thud.”)

7. Words As Words

When you are writing a word to use it as a word for reference, then you can put it in italics. For example, “He defined close in context of the situation as being within 6 feet of each other.”

Photo by Patrick Tomasso on Unsplash

Examples for when to use italics.

There are various writing formats that have slightly different rules. When you’re writing a scholarly paper, you may be advised to write in MLA format or APA format.

The MLA format may allow for interchangeability between italics and underlines. In the APA format, these are some examples of when to use and when not to use italics — and they aren’t always in line with the examples above. In APA format, for example, you should not use italics just for emphasis.

So before writing any scholarly paper, it’s useful to double check the rules for italics according to the specific guidelines.

Use Italics

• First introduction to a new term – i.e., “ Communism is defined as, ‘ a form of government…’”
• Titles of book and web pages – i.e., “ Eleven Rings by Phil Jackson”
• English letters used as math symbols – i.e., “Solve for the variable x .”
• Anchors of scale – i.e., “Rate your experience on a scale of 1 ( extremely dissatisfied ) to 10 ( extremely satisfied )”
• First use of words in a different language – i.e., “She was the crème de la crème .”

Do Not Use Italics

• For the title of book series – i.e., “the Dan Brown series”
• Punctuation around italics – i.e., “( extremely dissatisfied )”
• Words from foreign languages that are in the dictionary of the language you are writing – i.e., “per se”

Things To Remember

This list of rules and exceptions can feel overwhelming. And there’s still more to learn and remember on top of the points above! Keep in mind:

• Don’t italicize the titles of songs, chapters in books, or poems. Instead, use quotations. For example, you could write: On the Drake album Views, I really like the song “Fire & Desire.”
• Don’t italicize religious texts – i.e., the Torah or the Koran. Instead, these are capitalized.
• Don’t underline and italicize together like this . (That sure is painful to read!)

Although there is a lot to remember when it comes to what to italicize, the good news is that you can always research whether or not something should be italicized online or refer back to this list!

Italics Or Not? That Is The Question

As a student, it’s important to fine tune your grammar skills now so that when you graduate and enter the workforce, you can produce exemplary work every time!

As mentioned, when writing research papers or any other academic paper, your professor will share what standards they want you to abide by. Whether it’s MLA or APA formats, you can look up the rules for when to italicize before and during the writing process.

Then, when you edit, be sure to check all your usages of underlines, italics, and quotation marks to ensure they are implemented correctly!

Related Articles

Italics and Underlining: Titles of Works

There was a time when we didn’t have extensive formatting options for typed documents. Today, writers use underlining, italics, bold text, and quotation marks to emphasize certain words. The words that often get emphasized are names of ships or planes, words used as themselves, foreign words, and titles of books, movies, songs, and other titled works.

Are book titles italicized?

Yes, book titles are italicized. Longer works like books, movies, and music albums use italics in their titles, but shorter works like articles, poems, and songs use quotation marks. Different style guides have different standards for italics and quotation marks, so you’ll need to learn which to use.

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Shorter works

Longer works.

Titles of full works like books or newspapers should be italicized.

Titles of short works like poems, articles, short stories, or chapters should be put in quotation marks.

Titles of books that form a larger body of work may be put in quotation marks if the name of the book series is italicized.

How to emphasize book titles

The way you format titles isn’t really governed by grammar rules. It’s a matter of style. If you want to, you can emphasize whatever you want, however you want—but that could make your writing nearly unreadable. Consistency is also very important for emphasis, which is why businesses, institutions, and publications look to style guides.

Book titles are usually put in the same category as other big, standalone, or complete bodies of work like newspapers, symphonies, or publications. Style guides that prescribe the use of italics, such as  The Chicago Manual of Style  or the  AMA Manual of Style , say that titles of such works should be put into italics when appearing in text.

Some writers still use underlining if italicizing is not an option, but generally it’s considered outdated. You should also note that these guidelines apply to titles that appear in a text and are surrounded by other words. Titles at the top of the page or on the front cover don’t require italics or underlining. Their separation from the rest of the text is already enough to get the reader’s attention. You don’t have to italicize the title of your thesis, for example, when it appears on the cover.

How to emphasize titles of smaller pieces of work

Let’s say you want to write the title of an article or book chapter. Should you italicize it? For shorter pieces of work or works that don’t stand alone but are part of a greater whole, you should use quotation marks for titles . See the examples below:

Punctuating titles

Punctuating titles can cause trouble for some writers, but the rule is actually quite simple: If the punctuation is part of the title, include it in the italics or quotation marks. If it’s not part of the title, make sure it’s outside the italics or quotation marks.

In the first sentence, the title itself is a question, so the question mark is italicized as part of the title. In the second sentence, however, the title is not a question; rather, the sentence as a whole is a question. Therefore, the question mark is not italicized.

Exceptions for emphasizing titles

The rules for emphasizing titles may seem straightforward, but there are exceptions. What happens if you have more than one title, for instance? If you have, say, a collection of novels in one book (let’s take, for example, all three  Lord of the Rings  books in one handy paperback), the title of the collection would be italicized or underlined, and the titles of the three books would then be put in quotation marks.

Note that if the title contains ending punctuation marks, those should be included within the quotation marks. If a punctuation mark is used in the sentence containing a title, periods and commas should go inside the ending quotation mark, while question marks and exclamation points should go outside the ending quotation mark.

If you have two titles in one sentence (for example, a book title and a chapter title), the title of the larger work should be italicized, and the smaller work should be in quotation marks. See the example below:

You would also do this with episodes from TV shows:

Up for some exercise? See if you can emphasize the titles in the following sentences:

I read The Lion, the Witch and the Wardrobe over the summer.

Have you read Humble Origins to Classic Footwear, Espadrilles Endure on the Newsweek website?

Is Paradise Lost a poem?

The final part of Lord of the Rings, The Return of the King, was my favorite.

You only get so much information about Harry from reading A Boy Who Lived.

A Boy Who Lived is the first chapter of the book Harry Potter and the Philosopher’s Stone.

Do You Italicize Book Titles? MLA, Chicago Manual, and APA Rules (Examples)

Whether you are writing a book, a business blog, a research paper, or a magazine article, staying true (and consistent) to grammar and style is extremely important. It makes the entire article/ manuscript consistent and reading easy !

But with so many styles and style guides around, losing track is very common. This is especially true when you are writing titles – of books, stories, poems, chapters, and more – in your articles. Don’t you wonder whether you should underline the book titles, put them in italics, write them in quotation marks , or follow the traditional capital letter style? Well, we all do, and we often find ourselves hovering over different options, completely unsure of which one to choose .

So, should you italicize book titles or underline them?

The general rule says, always italicize book titles, if they are long and complete work. This keeps them distinct and makes them easily recognizable, especially when you are mentioning a book within your content. Italicizing also helps the reader to understand that this particular book is separate from the rest of the work they are reading. However, short titles – of poems, stories, articles, and chapters are often written in quotation marks.

For example:

Long title: Have you read In Search of Lost Time by Marcel Proust?

Short title: Grab your copy of “War and Peace” by Leo Tolstoy.

Now, this sometimes, can get very confusing and can put your writing all over the place. So when you are stuck between a right and a wrong, always follow the rule of thumb – How you write book titles in your work is a matter of choice (style). It is not governed by any grammarian law. There is no single source that governs how you must handle titled works and mostly depends on the style guide your publication is following – APA, Chicago, MLA, or any other.

So ask your editor his/ her preference and stick to it across your content. After all, consistency is the key to turning your writing into the most professional-looking copy .

In this article, we’ll help you learn the styling parameters that different style guides follow while writing book titles:

MLA rules for italicizing book titles

MLA stands for Modern Language Association – a United States-based society that styles manuals for students and scholars across the world. The MLA Handbook follows a particular style for documenting book titles, in the text as well as at the end of the article. As per the MLA style guide:

• Titles that are independent and self-contained are italicized.
• If the book title has a subtitle, the subtitle is italicized and separated by a colon (:).
• Titles that are contained in larger works ( e.g. , short stories, chapters) are put in quotations.
• However, when it comes to series titles, the MLA rules are a little confusing. In MLA, if a series title forms a part of the book title, then it is italicized. Otherwise, it is left in plain text. For example, the ‘Twilight Saga’ is a series title that you won’t italicize because it is not the tile of the book. But Harry Potter (a series title) you will italicize because it also forms a part of the title.  
• Godfrey, Wyck., et al. The  Twilight Saga :  New Moon . Two-disc special ed. [Los Angeles, CA], Summit Entertainment, 2010.
• Rowling, J. K. Harry Potter and the Sorcerer’s Stone. New York: Arthur A. Levine Books, 1998.

Chicago Manual of style rules

The Chicago Manual of Style is another widely accepted and used citation system. It is used across various disciplines like the humanities, sciences, social sciences, and more. It has its own style for citing books , titles, and full-length and freestanding works. If you want to follow the Chicago Manual of Style while formatting your book titles, here are some points to remember:

• Always italicize and capitalize the titles of your full-length, freestanding works. These include books, magazines, journals, blogs, research papers, and more.
• Online book citation also follows the same format.
• Chapter titles are always written in quotations and are not italicized.

APA style guide rules

The American Psychological Association (APA) is one of the most common and widely used reference styles. It is mostly used as a citation style for books and manuals written in the field of social sciences, psychology, sociology, and more.  It has its own set of rules for in-text and reference list citations. But when it comes to italicizing the books’ titles, the rules are pretty similar.

• Though in the APA, italicizing is kept to the bare minimum, long book titles, periodicals, webpages, reports, and standalone work are all italicized.
• Chapter titles in the APA are neither italicized nor written within quotes; the book titles however are. Also, the name of the chapter’s author is written in the first position.

7th Edition rules

The seventh edition of the APA is the latest edition and its purpose is to help students, scholars, and researchers write and communicate more effectively. Some of the biggest changes brought by the APA in its seventh edition include:

• The first letter (of the first word) of the title is capitalized.
• If there is a colon (:) in the title, the first letter after the colon is also capitalized.
• Proper names in titles are always capital
• Titles of books, magazines, journals, and newspapers are always italicized.
• Titles of articles or book chapters are not italicized.
• The title of the webpage is always italicized.
• The publisher’s location is no longer included in the reference.

When to Italicize Book Titles

As you could see , when it comes to writing book titles, a common rule applies across all styles ( barring a few exceptions ). So, if you are not following a particular citation style that asks you to do otherwise, this is a general rule that you can easily fall back on:

• Always italicize the titles of self-contained, independent work: books, albums
• Always italicize the titles of large books, like Harry Potter and the Sorcerer’s Stone
• Always italicize magazine names, like The New Yorker
• Always italicize newspapers, like The New York Times

Italicizing titles creates a visual hierarchy and helps a reference source stand out from the rest of the text.

When to Avoid Italicizing Book Titles?

While most book titles should be italicized, there are some exceptions to the rule:

• Short titles or titles of smaller works are not italicized. These include titles of short stories, poems, and chapters.
• The title of the series is not italicized. For example, while you would italicize Harry Potter and the Chamber of Secrets , you would not highlight the Harry Potter Series.
• Holy Books like The Bible and Quran, along with their sections, are not italicized.
• Headlines and course titles are also not italicized.

Do You Underline Book Titles?

No, we do not underline book titles . Underlining is an old formatting style that was once extensively used to emphasize certain words, phrases, and titles. But today, due to the availability of extensive formatting options, underlining has lost its mark and is not used as a preferred formatting option.   

However, if you are writing with a medium that does not offer the option to italicize, you may underline the text to emphasize it.

Do You Quote Book Titles?

Books, magazines, newspapers, and series all comprise many smaller parts, like a short poem, a chapter, a short story, and an episode. When citing these small pieces of work, we prefer writing them in quotation marks.

The teacher read a story titled “Lamb to the Slaughter” by Roald Dahl.

I missed the last episode of “Shaun the Sheep”.

 Susan is reading “The Fellowship of the Ring” from the Lord of the Rings .

Do You Italicize Book Series Titles?

While italics are used to emphasize book titles, trilogies and book series titles are only capitalized, not italicized.

What About Children’s Book Titles, Do Those Get Italicized?

Children’s books in style guides get the same treatment as other authored books. That is, titles of full works are italicized but short titles of poems, short stories, articles, or chapters are put within quotation marks. Also, in addition to the author’s name, they also include the illustrator’s name.

• Italics and Underlining: Titles of Works
• Treatment of titles
• Do You Italicize Book Titles In APA? A Must Read
• Should You Underline Or Italicise Book Titles?
• Do You Italicize Book Titles? Essay Secrets Revealed
• Should You Italicize Book Titles? A Guide to Formatting Titles

Inside this article

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About the author

Dalia Y.: Dalia is an English Major and linguistics expert with an additional degree in Psychology. Dalia has featured articles on Forbes, Inc, Fast Company, Grammarly, and many more. She covers English, ESL, and all things grammar on GrammarBrain.

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How do I style the title of a fairy tale?

Fairy tales are typically enclosed in quotation marks, in the style of other short-form works.

Some people may not know that Disney’s 1989 film The Little Mermaid is loosely based on Hans Christian Andersen’s “The Little Mermaid,” first published in 1837.    Some of the lesser-known tales collected by Jacob and Wilhelm Grimm include “The White Snake” and “The Robber Bridegroom.” 

Use quotation marks when you are referring to a specific version of a fairy tale published as part of a collection.

“Bluebeard” opens with the image of “a man who lived in a forest with his three sons and beautiful daughter” (610).  Work Cited “Bluebeard.” The Complete Fairy Tales of the Brothers Grimm , translated by Jack Zipes, 3rd ed., Bantam Books, 2003, pp. 610–12.

However, if a fairy tale was published as a long-form work, such as a book or play, use italics.

Just as captivating as the story itself are the illustrations that accompany Wilhelm Grimm’s Dear Mili , the work of the famed author and illustrator Maurice Sendak.  Work Cited Grimm, Wilhelm. Dear Mili . Translated by Ralph Manheim, illustrated by Maurice Sendak, Farrar, Straus and Giroux, 1988.

Generic references to fairy tales are not italicized or enclosed in quotation marks. 

The Cinderella story has been adapted by a number of authors, among them Giambattista Basile and Charles Perrault. 

ICE SPICE's First LP

From debuts to do-overs, what it means to start an artistic life — at any age

Letter From the Editor

Clockwise from top left: Ice Spice, Sky Lakota-Lynch, Meg Stalter, Tyla, Sarah Pidgeon and Titus Kaphar.

T’s Culture issue looks at artistic beginnings in all their forms.

By Hanya Yanagihara

The First Stroke

Artemisia Gentileschi’s “Susanna and the Elders” (1610).

Why, even as they progress in their practices, all artists remain perpetual beginners.

By Aatish Taseer

Tracy Chapman (right).

Lester Cohen/Getty Images

Musicians, writers and others on the work that started it all for them — and on what, if anything, they’d change about it now.

Interviews by Lovia Gyarkye and Nicole Acheampong

When These Two First Worked Together

Marc Jacobs and Cindy Sherman.

Love, spats, splits and enduring affinity: creative partnerships that have stood the test of time.

Interviews by Ella Riley-Adams, Nick Haramis, Nicole Acheampong, Julia Halperin and Coco Romack

Begin Again

Jordi Roca.

Video by Anna Bosch Miralpeix

What it’s like to make new art after many years or amid new challenges — or to change careers completely.

Interviews by Michael Snyder, M.H. Miller and Emily Lordi

When the Beginning Is Also the End

Miguel Adrover.

Catarina Osório de Castro

People who found great creative success in one field — before life took them in a totally different direction.

By John Wogan and M.H. Miller

J u v e n i l i a

Do Ho Suh’s “Tiger Mask” (1971).

Courtesy of the artist © Do Ho Suh

What artists see when they look back at work they made in their youth.

Interviews by Julia Halperin, Kate Guadagnino and Juan A. Ramírez

A first album, a first restaurant, a first time on Broadway: Ten debuts happening right now.

Interviews by Juan A. Ramírez and Emily Lordi

How It Begins

Jenny Holzer.

Photographs by Nicholas Calcott

The very first steps, whether you’re an actor getting into character or an artist presenting the survey of your life’s work.

Interviews by Laura May Todd

The Beginners’ Hall of Fame

Tabboo!’s “Lavender Garden” (2023).

Courtesy of the artist, Karma and Gordon Robichaux

Six people who found a new creative calling later in life — or for whom recognition was long overdue.

By Jason Chen

Advice on Beginning

Kim Gordon.

Laura Levine/Corbis, via Getty Images

Ten creative minds on how to start, pivot and productively procrastinate.

Interviews by Kate Guadagnino

Courtesy of Joseph Dirand Architecture

We asked 80 artists and other creative people to tell us what they’re starting right now or hope to start very soon.

T’s Culture Issue: Beginners.

An exploration of artistic beginnings in all their forms.

There’s a reason all of us — magazine editors in particular, perhaps, but not only us — love an artistic debut. It’s not just that those releasing their first album, book or movie, or having their first gallery exhibit or Broadway show, are usually young; it’s that they embody that most delicious and evanescent of qualities: promise. Any painter could be the next Rothko or Basquiat; any singer could be the next Joni or Aretha. There the new artist sits, poised between our expectations and their unwritten reality. Becoming emotionally invested in an untested creative life is like becoming financially invested in an exciting new company — should they (or it) work, the reward is not just theirs but ours. “See?” we tell ourselves. “We knew it all along.”

But the real test of being an artist isn’t the first album, book, movie or Broadway show, as significant as those accomplishments are. It’s what happens after. All artists know that living a true creative life means facing an endless series of beginnings: It’s starting over after setbacks; it’s pushing forward through doubt and despair; it’s trying again when someone tells you no; it’s slogging ahead when no one seems to like or care about what you make; it’s ignoring the voice inside you that tells you to stop; it’s striving and failing, again and again and again. There is no point of complete security, no award or recognition that bestows total confidence — a life in art means that, to some degree, you’re starting anew every day. As the novelist Andrew Holleran tells T, “Writing is basically unconscious, and you don’t get any smarter about it. Imagine a brain surgeon who didn’t learn from each operation? We’d be horrified. But when you sit down to write, you’re always wondering how to do it.”

On the covers, clockwise from top left: ICE SPICE wears a Burberry dress, $2,290, burberry.com ; Graff necklace, price on request, graff.com ; and her own earrings and ring. Photographed by Shikeith. Styled by Ian Bradley. Makeup by Karina Milan at the Wall Group. SKY LAKOTA-LYNCH wears a Canali coat, $3,060, canali.com ; and a Bode jacket, $1,080, bode.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty. MEG STALTER . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tiago Goya at Home Agency using Oribe. Makeup by Holly Silius at R3-MGMT. TYLA wears a Ferragamo top, $1,190, and earrings, $730, ferragamo.com . Photographed by Shikeith. Styled by Sasha Kelly. Hair by Christina “Tina” Trammell. Makeup by Jamal Scott for YSL Beauty. SARAH PIDGEON wears a Gucci dress, $24,500, gucci.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty. TITUS KAPHAR wears a Saint Laurent by Anthony Vaccarello coat, $4,900, ysl.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty.

In this issue, we look at what it means for an artist to begin, from actual debuts (such as Sky Lakota-Lynch, one of our cover stars, who’s appearing this spring in “The Outsiders,” his first original Broadway role) to do-overs (such as Jon Bon Jovi, about to embark on tour after throat surgery and a 40-year career, or the cabaret performer turned visual artist Justin Vivian Bond). And though the artists who appear in these pages are all different, they share a spirit of generosity: It’s no easy thing to give voice to your dreams and insecurities, much less to do so publicly. Their collective perseverance — a mix of dogged determination and wild hope — is a reminder for all of us that a creative life, that all life, takes nerve. It takes humility. It takes a kind of arrogance that sees you through the most barren periods.

And by the way: You don’t need to be young to lead a creative life. All you have to do is start. Start — and then never stop.

On March 12, as we were readying this issue to go to press, one of our colleagues, Carter Love, T’s senior photography editor, died. He was 41.

Being a good photo editor demands taste and a sense of coordination. For a fashion or celebrity shoot, they, along with the creative director and style director, assemble teams: the photographer, of course, but also the stylist, models, hair and makeup artists and set designers. For a travel story, the photo editor selects and hires the fixer, the photographer, the location scout, the translator and the transportation. Once on set, a photo editor stays until the very end of the shoot, even if the shoot goes all day. Carter worked on these — and many other — kinds of stories, often simultaneously; in this issue alone, he produced a dozen images, from the portrait of the longtime collaborators Cindy Sherman and Marc Jacobs to the picture of the fashion designer turned photographer Miguel Adrover.

Along with his native senses of taste and coordination, Carter was — crucially — able to laugh at the absurdities, the unexpected little (and not-so-little) disasters that inevitably arise during a shoot, no matter how thorough the planning: rain on a day when sun was predicted; equipment stuck in customs; a subject’s last-minute cancellation. He had a big laugh, resonant and full, which everyone in the office could hear; at work parties, he sometimes broke into song. In addition to his big laugh, he had a big voice. He was tall and wiry and quick moving, with magnificent red hair — I’d often look up from my desk and see his head and torso streaking across the top of the cubicle walls, hurrying off somewhere.

One of Carter’s most used phrases was “absolutely.” Could I see more options from this shoot? “Absolutely.” Could I have a list of the talent that had already confirmed? “Absolutely.” Thanks, Carter, for this new information. “Absolutely.”

Barely a week after his death, that word keeps beating in my head. Will we always ask ourselves why he had to die? Absolutely. Were we lucky to work with him? Absolutely. Will we miss him? Absolutely. Absolutely. Absolutely.

Digital production and design: Danny DeBelius, Amy Fang, Chris Littlewood, Coco Romack, Carla Valdivia Nakatani and Jamie Sims.

ONE EVENING 17 years ago, V.S. Naipaul came to dinner at my flat in Delhi. The writer, who had become something of a mentor to me, was transfixed by a painting I had bought a few years before. It was a self-portrait, over 7 feet tall and 5 feet wide. “I find it hypnotic,” Naipaul said, filing away spoonfuls of yellow dal. Observing the beauty of the hand clasped (as if in horror) over the mouth, the thumb livid against the dark hollows of the eyes, he added of the artist, “This is someone who has really seen, who has gone back again and again to see.”

Listen to this article, read by Neil Shah

I was at the beginning of my writing career, using my first advances to collect a few works of art. It was thrilling to have someone with as discerning an eye as Naipaul’s — “the brilliant noticer,” in the words of the literary critic James Wood — approve of “How Did You Sleep?” (2002), but it also made me sad. Its creator, Zack, who’d been a close friend at Amherst College in Massachusetts in the late 1990s, had recently given up painting, and “How Did You Sleep?” had become a symbol to me of the precarity of what it means to get started as an artist.

The Italian artist Artemisia Gentileschi was 17 in 1610 when she painted “Susanna and the Elders” (above). She went on to be the 17th century’s most accomplished female painter.

Zack, now 43, was of a mixed-race background from Topeka, Kan. After struggling with feelings of inferiority in our first year related to his public school education, he taught himself to paint from scratch. I would visit him and watch as he, dressed in paint-stained khakis and New Balance sneakers, toiled away at the self-portraits that were his trademark. He was a model to me of artistic labor and discipline, even if those early paintings were painfully amateurish.

Then, in our last semester, having been abroad a while, I entered Fayerweather Hall for the art department’s end-of-year show and saw “How Did You Sleep?” I was dumbstruck. I’m not sure I would’ve even been able to recognize it as Zack’s work — so prodigious had been his development as a painter — if it hadn’t been a self-portrait. Painted in the wake of 9/11, it showed the artist in a blue shirt with an expression of prophetic terror, as if watching a disaster foretold. I remember wanting to own it because it was proof, like none I had ever had before, that there really did exist such a thing in the world as raw talent. I persuaded Zack to sell it to me. The painting followed me from Amherst to my first job in New York, and on to London and Delhi.

By the time Naipaul saw it, Zack was working in strategic and financial communications in New York and no longer painting — “Every notary bears within him the debris of a poet,” Gustave Flaubert tells us. “My new job is intense,” Zack had written to say. “It’ll be good for a few years, but it’s not a career.” But neither was art; and Zack, who works as a researcher at Google now, was my first fearful example of how that mythical thing we call talent is real, and how talent alone isn’t enough.

IT WASN’T MY intention to start an essay about artistic beginnings with a story of artistic death. I love those romantic tales of creative daring and breakthrough: the English travel writer and novelist Bruce Chatwin quitting his job at The Sunday Times of London’s magazine with a simple telegram that read, “Have gone to Patagonia”; or, more dramatically, Paul Gauguin abandoning his wife, kids and job as a salesman to pursue his dream of being a painter. I love the improbability of the lives that could not have been: Salman Rushdie, the adman; W. Somerset Maugham, the doctor; the director Kathryn Bigelow, renovating dilapidated apartments in New York with the then-obscure composer Philip Glass. I remember Arundhati Roy teaching my mother and aunt aerobics in the basement of the Taj Palace Hotel in New Delhi before going on to win the Booker Prize for her debut novel, “The God of Small Things” (1997). It’s exhilarating to see destiny pick those who could but only have been artists out of the mundanity of their lives and light the way to a life of vocation.

I’m especially moved by those first moments of validation by which an artist comes out to himself, as it were. Consider Joseph Conrad in his mid-30s, working aboard the ship Torrens, with the manuscript of his first novel, “Almayer’s Folly” (1895). It had acquired, he writes in “A Personal Record” (1912), “a faded look and an ancient, yellowish complexion.” At sea, Conrad met his first reader, Jacques, a “young Cambridge man.” “Well, what do you say?” Conrad, brimming with anxiety, asked his new friend. “Is it worth finishing?” “ ‘Distinctly,’ he answered, in his sedate, veiled voice,” Conrad recalls years later, “and then coughed a little.” With that one word, Jacques, who was soon to be carried away by a fatal cold, had given a seafaring Polish exile a vital nod of encouragement. “The purpose instilled into me by his simple and final ‘Distinctly,’” writes Conrad, one of literature’s late bloomers (he was 38 when he published his first novel), “remained dormant, yet alive to await its opportunity.”

This quiet admission to oneself, as sacred as the vows of priesthood, of wanting to undertake the creative life is a necessary step; but like talent, it’s not enough. To be an artist is not a private act but a public one. No artist is born into a vacuum, or later speaks into one. They are as much a product of the society they emerge from as a response to it. Nor is artistic expression all spirit, all feeling. As Naipaul has frequently noted, writers require a complex edifice of interlocking parts — an infrastructure, if you will — to thrive. More broadly speaking, all successful artists rely on a network of critics, journals and newspapers, a discerning audience, bookshops and concert halls and galleries — which is generations in the making, presupposing certain values, certain economic and political realities. The Ukrainian-born novelist Clarice Lispector came of age in the Brazil of the 1920s. At 13, she “consciously claimed the desire to write,” as her biographer Benjamin Moser quotes her in “Why This World” (2009), but no sooner had she claimed her destiny than she felt herself in a void. The idea of vocation had been instilled in her, but that didn’t mean she knew how to proceed. “Writing was always difficult for me,” Lispector once wrote, “even though I had begun with what is known as vocation. Vocation is different from talent. One can have vocation and not talent; one can be called and not know how to go.”

Lispector had both vocation and talent, but what makes any artist’s first steps so tentative is that the path forward is narrower than we imagine. We come into the world believing we can be a great many things (and for a great many this is true) but, for those destined to be artists, the creative choices they make are almost as limited as the choice of being an artist itself. Maugham wanted to demystify the impulse that had him give up medicine to answer his calling as a novelist. “I am a writer as I might have been a doctor or a lawyer,” he writes in “The Summing Up,” his 1938 literary memoir, but, soon after that, despite himself, Maugham stumbles on that aspect of the artistic life that eludes banalization, for it’s truly mysterious — namely, the bond between the artist and his subject. “Though the whole world,” writes Maugham, “with everyone in it and all its sights and events, is your material, you yourself can only deal with what corresponds to some secret spring in your own nature.” 

“Vanitas Still Life” (circa 1665-70) by Jan van Kessel the Elder, who was from a long line of celebrated Flemish painters — Pieter Bruegel the Elder was his great-grandfather — and was perhaps destined to be an artist.

It’s this, the inexorability of the correspondence between an artist and the world, that gives those first steps their magical quality. It represents a rebirth so profound that it can often entail the killing off of a former self. One of my literary heroes, the writer Rebecca West — the author of that magisterial work of travel, inquiry and sympathy “Black Lamb and Grey Falcon: A Journey Through Yugoslavia” (1940) — was abandoned (as I was) by her father as a child. In late Victorian England, it left her with an exaggerated regard for what were seen as male qualities, as well as the need to compensate for their absence. “Men, she felt,” writes J.R. Hammond in “H.G. Wells and Rebecca West” (1991), his biography of their romantic and literary relationship, “should be strong and dependable; deep inside herself she sensed they were not to be trusted.” These gendered dynamics were surely at work as West, first making her way in the world at age 20, sloughed off the softer given name of Cissie Fairfield to adopt, as a pseudonym, the name of the spirited protagonist of Henrik Ibsen’s play “Rosmersholm” (1886).

No artist is without this set of special circumstances. They are the ground from which the need for expression arises. The path forward comes upon the artist-in-waiting with the power of certain mathematical proofs, elegant, inevitable, at once simple and inscrutable. “Falling in love for the first time and getting started as a writer,” my friend the writer Karan Mahajan, 39, the author of the novels “Family Planning” (2008) and “The Association of Small Bombs” (2016), replied by email when I asked him what it had been like for him, “both things happened at once for me. Suddenly, I had my material, and it encompassed all aspects of my life: my childhood in Delhi; immigration to the United States as a student; a future decided by plane journeys. I could love myself as the other loved me.”

For the Pakistani-born American painter Salman Toor, 40, the moment when, he says, “something vital clicked into place” meant that he suddenly found himself in “a direct relationship” between the things he was thinking and talking about every day and the paintings he was at work on. “In 2016,” he says, “I did a few paintings out of a need to be completely honest with myself. I wanted to illustrate the stories I was bursting to tell. A lot of these stories were about coming out and showing the excitement, anxieties and challenges of belonging to multiple cultures and living a cute little life in the East Village.”

The date surprised me. I had been aware of Toor’s work for almost a decade before this moment. To me, he was the painter of a certain kind of South Asian disquiet. No one captured the massive cultural and economic disparities of my life in Delhi (and his in Lahore) like Toor. Upon scenes of revelry and privilege — a party, a picnic, a rich westernized couple frolicking out of doors with a glass of wine and an iPhone — he would, in the form of servants in the background looking on, introduce an element of unease that hinted at the fragility of the societies we lived in. But quite unbeknown to me, Toor’s life in New York had opened up a new vein of material. To put it another way, he had begun again. And this is what we tend to forget: In the careers of certain artists, those who make big, varied bodies of work in which different strands of their experience are subsumed, the business of beginning, and beginning again, never ceases. Each new beginning brings with it all the uncertainty and blankness of the first. Experience might protect such an artist from forcing what’s clearly not working, but that core anxiety of not knowing if one will create again always remains. “Do not worry,” Hemingway would console himself, “you have always written before and you will write now.”

WHAT CONSTITUTES A beginning? In the common conception, it’s the first book, the first album, the first show at a major gallery. Yet an artist has myriad private ways in which they mark moments of true breakthrough. My childhood friend the sitarist and composer Anoushka Shankar, 42, regards her fourth album as her first. She had grown up under the influence of her mighty father, Ravi Shankar, the man credited with having introduced Indian classical music to the West. Every artist struggles with what the literary critic Harold Bloom has called the anxiety of influence but, in Anoushka’s case, it was even more pronounced. As she told me, Ravi Shankar was “my guru, my teacher, my father.” It was he who had composed her first three albums.

Ravi, before he went on to become the greatest sitarist of his generation, had been part of a dance troupe led by his brother Uday, which caused a sensation in the Europe and America of the 1930s. “Hindu thought, alive, authentic, in flesh and bone, in sound, gesture and spirit,” is how the French mystic René Daumal describes the Shankar troupe in his book “Rasa” (1982), but Ravi was conflicted. He eventually broke with the troupe and dedicated himself entirely to the sitar. “He had a real directional shift that I didn’t have,” Anoushka says. Her beginnings, though she was six decades younger than her father, were in a sense more traditional. They entailed the surprise of finding newness within tradition. “I think my journey,” she says, “was more progressively finding how the thing that was in front of me — the sitar, namely — the thing that had been given to me, could be my outlet, could be my voice.” 

A coda to this intergenerational tale of artistic beginnings is the story of Anoushka’s half sister, Norah Jones, who spent years of her childhood estranged from her father and grew up in Texas with her American mother. At a time when both Anoushka and I were discovering our half siblings, I remember going to see Norah play at little-known clubs on the Lower East Side of Manhattan. She was staking claim to what felt like a genetic destiny in music, though in a tradition entirely different from that of her father and sister. I don’t know if I’ve ever witnessed beginnings as meager and transformational as these for, not long after, Norah’s debut album, “Come Away With Me” (2002), was released; it went on to win five Grammys, sell 30 million copies and all but save the piracy-shattered music industry.

We live in a society that prizes the individual above all else but, in the art of premodern Europe and classical India, to begin as an artist didn’t necessarily entail breaking with tradition, nor was it given to every artist to be original. “Raphael was adept at this,” writes Rachel Cusk in her travel memoir “The Last Supper: A Summer in Italy” (2009), in which she describes the Italian Renaissance painter’s relationship to his first guru, Perugino. Raphael had become so good at imitating Perugino, Cusk tells us, that the copies of his master’s work were indistinguishable from the originals. The art of pastiche, of inhaling the influence of an older admired artist so completely that it enters your soul, exists today, too. The South African writer J.M. Coetzee’s early works owe a huge debt to Samuel Beckett, as Rushdie’s do to Gabriel García Márquez and Thomas Pynchon’s to James Joyce. The difference in the modern era is that influence is something we must shrug off in order to become our own people, yet not everyone can. Cusk deals very movingly with Raphael’s quest (and ultimate failure) to be his own man. In a field crowded with giants such as Michelangelo and Leonardo da Vinci, he “retreated behind the mask of humility, never to come out again.” But far from this being his downfall as an artist, it, too, was a kind of beginning. “In the end,” writes Cusk, “his borrowing of such greatness amounted to greatness itself. Not everyone who sees a Michelangelo can go off and paint a Michelangelo.”

THERE ARE SO many ways to begin. I said it wasn’t my intention to open with a story of artistic death, but I never explained why I did. The reason is that after six books, and 20 years after writing my first publishable sentences, stamina, endurance and the ability to stay the course have come to mean at least as much to me as that first raw efflorescence of talent. If Zack’s story acquired the force of parable for me, it was because it showed me the vanity of our preoccupation with talent. Many with fewer gifts who are yet more steadfast go on to have brilliant careers as artists. There’s an undeniable mystery in why some among us become artists, but there’s a greater mystery to me still in those who survive the vicissitudes of creative life, leaving behind bodies of work through which there runs an arc of growth as sublime as the vaulting of a Gothic cathedral.

A true artist always brings something new into the world. A new color, a new complexion, a new way of looking — a “new kind of beauty,” to use Marcel Proust’s phrase for the special distinctiveness he felt that Fyodor Dostoyevsky had brought to literature. We make the mistake of thinking of that newness as an externality, a scaffolding, a mere matter of style. But in fact, the originality we detect on the surface is an emanation from the birth of a new idea. It’s something far more radical, far more unnerving, than we are prepared to accept. Real artists bring about real rupture. We want to domesticate the discomfort that makes us feel but, deep down, we know the old rules no longer apply; and for one fleeting moment, our world, with us in it, is laid bare, transfigured by the imagination of someone who has dared to see it anew.

Read by Neil Shah. Narration produced by Emma Kehlbeck. Engineered by Quinton Kamara

Amy Tan , 72, writer, on “The Joy Luck Club” (1989)

Tan with her mother, Daisy Tan, in San Francisco in 1989. The author’s 11th book, “The Backyard Bird Chronicles,” a collection of illustrated essays, is out this month.

Robert Foothorap

I was a business writer [of marketing materials for companies and brochures for their employees] in the mid-1980s and, even though I was successful, I was unhappy. I wasn’t doing anything meaningful. Writing fiction allowed me, through subterfuge, to access emotional realms that I hadn’t explored before. When you write your first novel, you tend to include a lot of autobiographical elements. “The Joy Luck Club” [about the lives of four Chinese immigrant women and their American-born daughters] became deeply personal without my knowing it. I wasn’t consciously writing about racism or generational divides, even though that’s exactly what I was writing about. At that time [Tan was 37 when the book came out], I was just trying to find a story.

Courtesy of Putnam © 1989 Gretchen Schields. Photo by Joshua Scott

People got all kinds of things out of it. They said it saved their marriage or helped their relationships. I felt wonderful about that, but I couldn’t take credit. I didn’t intend to write a book that was going to improve people’s lives. That would’ve been a noble pursuit but, to do that, I’d have had to come up with a book that was very different — less spontaneous and honest. Without a doubt, what made me proudest was that my mother read it. She wasn’t proficient in English, but she understood it more than anybody else. — L.G.

Avril Lavigne , 39, musician, on “Let Go” (2002)

Lavigne at a recording studio in Cologne, Germany, in 2002. The musician’s new tour, “Avril Lavigne: The Greatest Hits,” begins next month.

Fryderyk Gabowicz/Picture Alliance/Getty Images

I remember going into the studio and people trying to tell me what to do or how my music should be, but I knew what I wanted to create. “Let Go” reflects how I felt as a young girl coming into the music industry. I was 15 when I got signed and 16 when I made that album. I had all this angst and rebellion, and I wanted to be expressive in that tone. But the adults around me kept delivering cheesy song ideas, and I wasn’t feeling the way people were playing the guitar. It was all too light and fluffy; that’s the stuff that made me run.

Courtesy of Sony Music Entertainment and Avril Lavigne

When I went to Los Angeles and connected with [the album’s co-writers Lauren Christy, Graham Edwards and Scott Spock of] the Matrix and Clif Magness, they were way cooler and more open-minded. Lauren and I spent a lot of time together. I sat with her in the backyard on a picnic blanket writing “Complicated”; we really connected. I was finally understood. The production was a little poppy for me. If I had to redo the album today, I’d tweak some things here and there production-wise and apply some of my experience from the past 20 years. Still, the important songs like “Sk8er Boi” and “Complicated” rocked enough — they had the live guitar and drums — and “I’m With You” wasn’t too polished. On songs like “Unwanted” and “Losing Grip,” we really went all the way — no holding back. — L.G.

Chloë Sevigny , 49, actress, on “Kids” (1995)

Sevigny at the Jersey Shore in 1995. The actress, who has appeared in over 50 features, recently shot “Bonjour Tristesse,” an upcoming adaptation of the 1954 Françoise Sagan novel.

From left: Lila Lee-Morrison; © Shining Excalibur Pictures/courtesy of Everett Collection

© Shining Excalibur Pictures/Courtesy of Everett Collection

I still find the marketing around “Kids” [about a day in the life of some wayward New York City teenagers] a little outrageous: “The most shocking film of the year!” “A must-see!” But it worked. A lot of us making it thought of it as a cautionary tale, but so many kids have come up to me and said, “That’s why I moved to New York. I wanted to live that life.” I was an amateur [at 19, when I made the film]. I knew the cinematographer, Eric Alan Edwards. He’d shot [Gus Van Sant’s 1991 movie] “My Own Private Idaho,” and I thought the acting in that was impeccable. I trusted that if something [in my performance] was false, he’d say something. I don’t know why, but I just gave myself over to [Edwards and the director, Larry Clark]; I trusted that they wanted to get to the truth of things.

The hardest scene for me to shoot was when [my character, 15-year-old Jennie] is at the clinic receiving information that she’d contracted H.I.V. I thought, “How does one even begin to try to act that?” I was very tentative. If I were to approach that scene now, I think I’d have the confidence to try more things — one take crying, others doing this and that. At the time, I was trying to be as real as I thought I could be on camera with a crew around me.

I’m surprised that “Kids” is still making such an impact, but I’m also not. Afterward, I thought, “OK, this set a bar. These are the kinds of people I want to work with.” — N.A.

King, the author of over 70 books, with his wife, Tabitha, and their children (from left) Joe, Owen and Naomi at their house in Orrington, Maine, in 1979. His next book, a short-story collection titled “You Like It Darker,” will be published in May.

James Leonard

Stephen King , 76, writer, on “Carrie” (1974)

One of my rules about writing is similar to a rule in [the card game] Hearts: If it’s laid, it’s played. I have a tendency not to go back and reread things, particularly with “Carrie” [a horror novel about a bullied high school student capable of telekinesis]. I’m afraid of how naïve it may be, how much it might be the work of a very young writer. It’s like when you’re a kid and you don’t know how to behave. You look back on certain things and say, “I shouldn’t have grabbed that,” or, “That wasn’t polite.” I don’t want to go back and see that my shirttail was untucked or my fly was unzipped.

Courtesy of Doubleday. Photo by Joshua Scott

I’d change a lot. It would have a little more depth when it came to the characters. Remember, it started as a short story. I had this idea about a girl with paranormal powers who was going to get revenge on the girls who made fun of her. It was too long for the markets that I had in mind, and I didn’t know very much about girls anyway, particularly girls’ gym classes and locker rooms, so I threw the story away. My wife fished it out of the trash, uncrumpled the pages, looked at it and said, “This is pretty good. I’ll help you.” It’s a very short book, way under 300 pages. Also, there are pejoratives that were common then that I wouldn’t use now, even though they’re realistic and come out of the mouths of characters we don’t like. On the whole, I must’ve done a fairly good job because the book was published [when I was 26] and [in 1976] they made a movie out of it.

One of the things I think about a lot was that my mother got to read it. She had cancer at that point and died before any of my other books were published. Because of “Carrie,” I had a chance to take care of her and get her in a hospice. By then we had the money, otherwise we would’ve been out of luck. — L.G.

Holleran in Florida in the 1980s. Three of the author’s five novels, including “Dancer From the Dance,” were republished in paperback this past December.

From left: Lee Calvin Yeomans, courtesy of Andrew Holleran; Ian Dickson/Shutterstock

Ian Dickson/Shutterstock

Andrew Holleran , 79, writer, on “Dancer From the Dance” (1978)

“Dancer” has had a life of its own, which I could’ve never predicted. I wrote the book at my parents’ house in Florida one winter [when I was 33]. It was going to be the last book I ever wrote, because I’d been writing for 10 years after graduating from an M.F.A. program and had only had one story published in a magazine. I said to myself, “You have to stop now and go to law school.” Luckily, the book came out of me very quickly and, in retrospect, became a description of six years I’d spent in New York. It was very easy because I’d obviously touched something that mattered to me.

I’ve never reread “Dancer” [about gay life in 1970s New York] so, while I’m sure that if I did, I’d revise, revise, revise, I can’t imagine changing any of it. The campy style of the letters that frame the book is probably outdated, which is a shame since I love camp.

I’ve learned since then that writing is basically unconscious, and you don’t get any smarter about it. Imagine a brain surgeon who didn’t learn from each operation? We’d be horrified. But when you sit down to write, you’re always wondering how to do it. — L.G.

Harry and Stein, of the rock band Blondie, in the U.K. in 1977. Stein’s memoir, “Under a Rock,” will be published in June.

From left: Jeff Gilbert/Alamy Stock Photo; CBW/Alamy Stock Photo

CBW/Alamy Stock Photo

Debbie Harry , 78, and Chris Stein , 74, musicians, on “Blondie” (1976)

Debbie Harry: We recorded “Blondie” [when Harry was 30 and Stein was 25] in a studio used by jazz musicians, and there wasn’t a lot of fancy recording technique. It was a different era. I think the fact that the album wasn’t overproduced gives it a kind of timelessness. We still perform some of those songs. Every once in a while, we drag up “X Offender” and “Rip Her to Shreds.”

Our music wasn’t just about one style or sound; we had songs that expressed different feelings and attitudes in music. A lot of things, like “Man Overboard” [a danceable heartbreak track], we really didn’t pull off the way I think Chris wanted to, but it’s there.

Chris Stein: That song would’ve worked fantastic with a dembow beat [but I wasn’t introduced to reggaeton until years later]. If I were to change anything about the album, it’d have more to do with the production than what we were slapping on the tape. Generally, we’d just go in and do a bunch of takes, pick the best one, throw some stuff on it and that was pretty much it. There was hardly any overdubbing. We learned so much from the producer Mike Chapman a couple of years later — the difference between “Blondie” and our later albums was like night and day.

Still, I like “Blondie.” It represents how we felt at the time and what was happening to us. When I look back on it, I think of the whole downtown milieu and a period in New York that I don’t know if anyone thought we’d be talking about 50 years later. — L.G.

Smith at her mother’s home in northwest London in 2000. The author’s sixth novel, “The Fraud,” was published last year.

Courtesy of William Morrow. Photo by Joshua Scott

Zadie Smith , 48, writer, on “White Teeth” (2000)

I love the joy in my novel “White Teeth” [a multigenerational story of race and identity among the residents of London’s Willesden neighborhood], even though I haven’t picked it up in 25 years. Back then [Smith was 24 when the book came out], I was trying to write about people; I was interested in the interpersonal above all else. The people in the neighborhood I came from were always described in a manner of pathology, and I was trying to explain that we weren’t pathological. I was always writing around this kind of elephant in the room, which is what you know people have already assumed about your characters. As I’ve gotten older, I’ve had to do less of that because I’ve got company. There are so many writers from so many countries, particularly in West Africa, [that] I wanted to see as a child.

Courtesy of Penguin Random House

I’ve become more interested in power lately. I’m very aware of being like the Ancient Mariner, that the structures I’m talking about that made life not always pathological have vanished. The conditions of the characters in “White Teeth” — their decent health care, their reasonable housing, their free university education — are gone. I’m still on the side of joy, but the question is, what kind of structures allow people to experience it. As I’ve gotten older, I write about them not out of nostalgia but out of political urgency. — L.G.

Left: a mock-up of Lin’s 493-foot Vietnam Veterans Memorial. Right: Lin with her parents, Julia Chang Lin and Henry Huan Lin, at her Yale graduation in 1981. The designer’s 44th sculpture, for the Obama Presidential Center in Chicago, is scheduled to be completed next year.

Courtesy of Maya Lin (2)

Lin with her parents, Julia Chang Lin and Henry Huan Lin, at her Yale graduation in 1981. The designer’s 44th sculpture, for the Obama Presidential Center in Chicago, is scheduled to be completed next year.

Courtesy of Maya Lin

Maya Lin , 64, sculptor, on the Vietnam Veterans Memorial (1982) in Washington, D.C.

It was a battle to keep the Vietnam Veterans Memorial simple and spare. I was moved by World War I memorials built by the French and British. They offered a much more realistic and sobering look at the high price of war, which is human life. When I went to the site [of what would become the monument] on Thanksgiving break [in 1980, when I was 20 and in my junior year at Yale], I felt a need to cut the earth and open it up. The structure isn’t so much an object inserted into the earth; it’s the earth itself being polished like a geode. I considered everything, even the walkway, which was put in to intentionally separate the wall from the ground. If you put the granite sidewalk all the way up against the wall, it would no longer be a polished geode — it’d be a curb. I put grass there. But no one could have predicted how popular it would be, so people trampled the grass and it died.

A year or two after the memorial was built, unbeknown to me, the architects of record worked with [the National] Park Service to put in [Belgian blocks on either side of the granite path]. That needs to be rethought because it’s an ugly detail. They’re out of scale. It drives me crazy every time I see it. — L.G.

Chapman with the producer David Kershenbaum at a Los Angeles recording studio in 1987. The musician’s debut album will be reissued on vinyl this summer to mark its 35th anniversary.

From left: Lester Cohen/Getty Images; courtesy of Elektra Records

Courtesy of Elektra Records

Tracy Chapman , 60, musician, on “Tracy Chapman” (1988)

I had this notion when I first started writing songs that to respect the muse — or whatever source of inspiration brought me to put pen to paper — I shouldn’t do any editing. The first thing that came to me was meant to be. “Talkin’ Bout a Revolution,” which I wrote when I was 16, emerged from that mind-set. It was one of those songs that came out in one sitting. It’s a very forceful declaration.

A song like “Fast Car,” which I wrote when I was maybe 22, wasn’t a very long process, but it reflected a different strategy about songwriting. It was more about revelation, sharing a story about a person and the changes happening in their life. I made edits to “Fast Car.” I definitely changed words and lines. I’m too embarrassed to tell you exactly what, but it was the verse that starts “See, my old man’s got a problem.” Let’s just say that there was something else there.

In some ways, writing a song is about asking and answering questions: “Who is this character, why are they doing this and where is the story going?” When I was young, I thought all these questions could be answered with the first iteration of the song. I’m not as enamored with this idea that the very first thing that comes to mind is what I have to remain committed to. — L.G.

Jewel , 49, musician, on “Pieces of You” (1995)

Jewel at the musician Neil Young’s private studio in Northern California in 1994. An immersive exhibit of the singer-songwriter’s work will open at the Crystal Bridges Museum of American Art in Bentonville, Ark., in May.

Courtesy of the Jewel Kilcher Archive and Bershaw Archival Management

What’s important to me about “Pieces of You” is that I made an honest album. I liked [the writers] Charles Bukowski and Anaïs Nin because they told the truth about themselves, and it wasn’t always pretty. With my work, my goal was to be just as honest. “Pieces of You” wasn’t more developed than I was — I didn’t know how to play with a band, and I didn’t choose a producer who’d make me sound slicker or lend their experience to make me sound more polished. I wanted it to be a snapshot of who I was [between 16 and 19]: inexperienced, emotionally charged and trying to figure life out.

Courtesy of Craft Recordings and Jewel

Writing was medicine for me. I had extreme anxiety, panic attacks and agoraphobia. I wrote songs to calm myself down and to help me fall asleep at night. I never wrote them thinking I’d have a career. There wasn’t really a craft — it was more about what comforted me, what suited me, what interested me to think and write about. I was an avid reader, and a lot of my writing took after Flannery O’Connor, [John] Steinbeck and [Anton] Chekhov, like short stories put to music.

I remember writing at that age that I didn’t want my music to be my best work of art — I wanted my life to be my best work of art. I take music seriously, but I take that promise to myself more seriously. — L.G.

These interviews have been edited and condensed.

JANE FONDA AND LILY TOMLIN, ACTRESSES Have co-starred in three films and a TV show, from “9 to 5” (1980) to “80 for Brady” (2023).

Video by Kurt Collins

JANE FONDA: It was 1978, and I heard that Lily Tomlin was performing in a [one-woman] show called “Appearing Nitely” in Los Angeles. I don’t know how many characters she played, but she embodied them all so fully. I was smitten. I went backstage to meet her. At the time, I was in the process of developing “9 to 5” [the 1980 comedy about a trio of female office workers who overthrow the company’s sexist boss] and, as I was driving home, I thought, “I don’t want to be in a movie about secretaries unless Lily Tomlin is in it.”

LILY TOMLIN: She swept in backstage with a big cape on. We couldn’t believe it — this was Jane Fonda! For a couple of years, I’d worn a hairdo from “Klute” [the 1971 thriller for which Fonda won an Oscar], but I didn’t have it when she showed up that day. I was like, “Why did I drop my ‘Klute’ hairdo at this propitious time?”

J.F.: It took a good year to convince Lily and Dolly [Parton, the film’s other lead] to do the movie. It’s not that they weren’t interested, but it was very difficult. Why was it so difficult, Lily?

L.T.: I think I was that way about everything.

From left: Fonda, 86, and Tomlin, 84, photographed at Hubble Studio in Boyle Heights, Los Angeles, on Jan. 29, 2024.

Kanya Iwana

J.F.: You are that way about everything: “I don’t know if I can do this. I’m not right for the part.” You do that every time. But it was your idea to get Colin Higgins to direct and to cast Dabney Coleman [as the boss]. You should’ve been the one producing it! My only decision was to make the movie, because one of my close friends, [the former director of the U.S. Department of Labor Women’s Bureau] Karen Nussbaum, would tell me stories about organizing women office workers and what they had to go through.

L.T.: I thought I had some lines that were hitting you over the head with the joke. Yet when the movie was released, those lines got the biggest response from the audience.

J.F.: Both of us got a kick out of Dolly’s innocence. When she showed up the first day, she’d memorized the entire script. And then the day that Dolly sang —

L.T.: Oh, that was a glorious moment.

J.F.: She used her long nails like a washboard and started to sing, “Working 9 to 5. …” Lily and I looked at each other and we knew: “This is it — we’ve got an anthem.” But I think my favorite shooting experiences were when we had the dead body in the back of the car. We went to the Apple Pan [a diner in Los Angeles] because Dolly wanted to get a cheeseburger, remember?

L.T.: Everybody would tell stories about their life, and we just fell in love with each other.

J.F.: Our worlds are so different. Our backgrounds are so different. Our senses of comedy — I mean, I don’t really have one.

L.T.: Jane was so earnest. She felt so passionate about every activist problem that she was trying to solve. It was inspiring and endearing.

J.F.: Since then, we’ve done seven seasons of [the Netflix TV series] “Grace and Frankie” [which ran from 2015 to 2022]. Ten days after we wrapped, we started a movie that we both like a lot called “Moving On.” When that came out [in 2023], I was interested in the reviews — almost every one of them talked about our chemistry. And it was like, “Well, maybe we should always work together.” — E.R.A.

Fonda: Hair: Jonathan Hanousek at Exclusive Artists Management. Makeup: David Deleon at Allyson Spiegelman Management. Tomlin: Hair: Darrell Redleaf Fielder at Aim Artists Agency. Makeup: Shelley Rucker at Aim Artists Agency. On-set producer: Joy Thomas. Photo assistant: Jeremy Eric Sinclair. Digital tech: Aron Norman

MARC JACOBS, FASHION DESIGNER, AND CINDY SHERMAN, ARTIST Have collaborated on multiple projects for the Marc Jacobs brand, from a 2005 photo book to the spring 2024 campaign.

From left: Jacobs, 61, and Sherman, 70, photographed at Go Studios in Hell’s Kitchen, Manhattan, on March 5, 2024.

MARC JACOBS: In 2004, I reached out to ask if you’d [be in a Marc Jacobs campaign]. I knew your work very well, and I knew that you’d done an ad in 1984 for [the French fashion brand] Dorothée Bis. That made me think, “Maybe she’d do this with us.” I was a little intimidated about asking.

CINDY SHERMAN: I was so intimidated that you’d asked. I remember thinking, “I’m going to bring a bunch of wigs and makeup.” It was just me for a few shots, but then [the German photographer] Juergen [Teller] got playful and started putting himself in the pictures. He gradually shaved parts of his face and head. He’d started the shoot with a full head of hair and beard; by the end, he was completely bald with no facial hair at all.

M.J.: I wasn’t there, but I got calls from Juergen saying, “It’s [expletive] excellent, it’s [expletive] excellent.” He says that when he’s really excited. You created some hilarious characters. There was one where you were both older, sitting on a bench.

C.S.: Rifling through a big bag.

M.J.: That image became a billboard on Melrose [Avenue in Los Angeles]. It was great because fashion campaigns like that didn’t exist back then. Nobody would’ve ever said, “ That’s our ad,” because it wasn’t exactly selling clothes or bags. But it was exciting.

C.S.: What’s funny is that you’d asked me, a year or two ago during Covid, to do something — I don’t even remember what it was. I’d gained a bit of weight, so I was self-conscious and kept turning you down. [For the 2024 campaign I ended up doing] some of the outfits were a little tight. The people assisting me said, “We can fix that.” And I said, “No, no, it’s [perfect for] the character.” I guess I could’ve thought of someone who was trying to hide, but I decided, “No, she seems like she could just let it all hang out in her leather pants.” How do you feel when you see different types of women wearing your pieces or putting them together in unusual ways?

M.J.: It’s the ultimate validation. Of all the stuff that exists out there, they’re spending their money on something I’ve made. How about you with collectors?

C.S.: Sometimes it’s a little weird. I remember an early series of horizontal pictures that I called “The Centerfolds” (1981) — I thought they were kind of disturbing, but some collector said, “I have that one hanging over my bed because it’s so sexy.” And I’m thinking, “Ugh, I don’t want to know that.” But you can’t control what happens to a piece.

M.J.: Or what other people see in it. Feedback is part of the equation. It’s like, “I’m not just doing this for me. I need you.” — E.R.A.

Production: Prodn. Hair: Tsuki at Streeters. Makeup assistant: Nanase. Photo assistants: John Temones, Tony Jarum, Logan Khidekel

CARLOS NAZARIO, STYLIST, AND WILLY CHAVARRIA, FASHION DESIGNER Have worked together on three collections since 2022.

From left: Nazario, 36, and Chavarria, 56, photographed at Chavarria’s studio in Greenpoint, Brooklyn, on March 18, 2024.

Emiliano Granado

WILLY CHAVARRIA: Carlos and I would see each other at Calvin Klein [Nazario has styled for the brand; Chavarria was its senior vice president of design from 2021 until 2023], but our first formal meeting was lunch at the Odeon. Like Truman Capote’s swans, we had salads and talked about water and weight loss.

CARLOS NAZARIO: It wasn’t like we were meeting to discuss a project. That sort of evolved organically.

W.C.: I was terrified to ask you to work with me. I remember texting to [see] if you’d style my [fall 2023] show. Do you know what you said? “I thought you’d never ask.”

C.N.: Willy’s work spoke to me in such a profound way. There was such a similarity — if not in aesthetic, definitely in intention. A lot of brands lack depth and a soul. I’m Afro-Latino. I grew up in New York with a certain relationship to how one presents themselves to the world, what glamour means and looks like and how it’s communicated. I was always intrigued by how Willy’s designs encompassed all those things.

W.C.: [The way we collaborate] is so natural and unpretentious. We end up telling a story that we feel good about.

C.N.: Every relationship between a stylist and designer is unique. Some designers require a lot more — from research to manufacturing and the show. Others want you to come in right at the end and say, “Let’s put that on this model.” With Willy, our conversations prior to my first day were conceptual. We talked about what he wanted it to feel like, rather than what he wanted it to look like.

W.C.: For that first show together, we wanted the cast — all people of color, many of them queer and trans — to feel elevated and empowered. Marlon [Taylor-Wiles, the show’s movement director] was going to have the models look down at the guests.

C.N.: At the rehearsal, we were like, “Maybe it’s a bit creepy.” I wasn’t uncomfortable [giving my opinion] because Willy’s such an easy person to talk to. But anytime you’re coming into a space where everyone has clearly defined roles, you feel like a stepparent. You’re a bit like, “Do I discipline the daughter? Do I tell her the skirt’s too short?” I didn’t want to overstep, but I also wanted to make my presence worth it. As we got more comfortable [with each other], we got more comfortable trying things.

W.C.: The next season, we took more risks. We wanted it to feel refined and elegant, but we also wanted to inject a youthfulness.

C.N.: At a lot of [brands], it’s like, “This season, everything’s a miniskirt. If your thighs aren’t great, see you in the fall!” Willy’s casting allows for a very broad vision in terms of what the styling can do: You’ll have someone like me, who’s 5-foot-4 [Nazario walked in the fall 2024 show], and then you’ll have someone who’s 6-foot-4.

W.C.: You’ll have a woman in her late 50s and a 17-year-old boy.

C.N.: Everyone from twinks to daddies. If you tried to dress everyone the same, it’d be a disaster.

W.C.: I can suggest something that you don’t like, and you’ll say, “Let’s go with it. Let’s see.” And I’ll do the same. I’ve worked with stylists who will deliberate over the positioning of a hat for hours. The stress level is so intense, it kills the moment. Having the freedom [to experiment reflects] a levity we want the brand to have. You know, we address serious subjects, like human rights, inclusion …

C.N.: Self-identity. But if we’re stressed, everyone’s stressed. We try to keep it light, but we also understand the weight of the responsibility. It’s rare that you work with people who understand what you’re feeling and what you want to convey. And I think our trust lies in that. — N.H.

Photo assistants: Eamon Colbert, Jordan Zuppa

MINK STOLE, ACTRESS, AND JOHN WATERS, FILMMAKER Have worked together on almost every one of his movies since “Roman Candles” (1967), including “Pink Flamingos” (1972), “Hairspray” (1988) and “A Dirty Shame” (2004).

Video by Melody Melamed

MINK STOLE: John, I’ve just been told your conference line is charging me a penny a minute.

JOHN WATERS: Oh, c’mon. I’ve been using it for 20 years. It’s never said that.

M.S.: It’s fine. I can handle it.

T: How did you two first meet?

J.W.: Mink also grew up in Baltimore, although I was friends with her older sister Mary, who now goes by Sique. My memory’s that we met in Provincetown, Mass., right before doing my second movie [the 1967 short] “Roman Candles” [in which Stole plays a party guest who gets spanked]. She was looking to go bad and found the right crowd. Prescott Townsend, one of the first gay radicals, allowed us to live in a tree fort he’d made.

M.S.: That was the summer I got introduced to homosexuality.

J.W.: Did we take acid that summer?

M.S.: I kind of think we did, yeah.

J.W.: And then we took it again 50 years later. My mother always used to say, “Don’t tell young people to take drugs.” But I’m not — I’m telling old people to. Anyway, we shot “Roman Candles” partly at my parents’ house and, oddly enough, a decade later, you filmed a big scene at that same house, in my parents’ bedroom, when you played [the delusional housewife] Peggy Gravel in “Desperate Living” [1977].

From left: Stole, 76, and Waters, 77, photographed, respectively, at Edge Studios in Mid-Wilshire, Los Angeles, on Feb. 4, 2024, and at Waters’s home in Tuscany-Canterbury, Baltimore, on March 7, 2024.

Melody Melamed

M.S.: We threw a baseball through a window and kind of trashed the place. Your mom was a sport.

J.W.: So was yours. Mink and I were arrested [along with three other members of the crew] for conspiracy to commit indecent exposure while making [the 1969 film] “Mondo Trasho.” It was in the paper. They printed your poor mother’s address.

M.S.: We were acquitted.

J.W.: We’d been filming a scene at Johns Hopkins University with [the actor and drag performer] Divine, in full makeup and a gold lamé top with matching toreador pants, in a 1959 red Cadillac convertible with the top down in November. I never asked permission [to shoot]. The police came and we all ran. The fact that we got caught and Divine escaped didn’t say a lot for the Baltimore police. Mink played an escaped mental patient; she did a nude tap dance.

M.S.: I’d get upset when the press would call us unprofessional because, although it was true that not one of us had ever taken an acting lesson, we were incredibly professional. And none of it was ad-libbed. John wouldn’t have tolerated that. He knew every comma, every “and,” every “but.”

J.W.: What’s that French term for people who go crazy when they’re together?

M.S.: “Folie à something”?

J.W.: “Folie à famille.” Everybody chipped in, and we just went for it.

T: Mink, were there any scenes you refused to shoot?

M.S.: Before we started filming “Pink Flamingos” [1972, in which Stole plays the proprietor of a black-market baby ring], John very casually said, “Will you set your hair on fire?” And I said, “Yes, that’ll look great on film.” But then as the moment approached, I panicked.

J.W.: I was on pot when I thought of that.

M.S.: It would’ve been great, except that I’d be bald today. I think that’s the only thing I ever refused to do.

T: What’ve you learned from each other?

M.S.: In the early films, we all acted largely. We spoke in italics. In the later ones, when I’d start to behave that way, John would say, “Take it down.” I was shocked [the first time he said it].

J.W.: When we made those early movies, I was influenced by the theater of the ridiculous — by cruelty, shouting and craziness. It wasn’t them overacting, it was me telling them to overact.

M.S.: I have enormous respect for John, and John for me. Aside from the fact that I love him dearly, I don’t know where I’d be if I hadn’t met him.

J.W.: And we’ve never had the same boyfriend.

M.S.: Or wanted the same boyfriend.

J.W.: Mink and I have been through a lot together. We’ve fought, we’ve made up. I don’t trust people who don’t have old friends. For me, they outlast family. Mink and I are even going to be buried together in the same graveyard. We call it Disgraceland. — N.H.

Waters: Makeup: Cheryl Pickles Kinion. Photo assistants: Daniel Garton, Ashley Poole

COBY KENNEDY AND HANK WILLIS THOMAS, ARTISTS Have spent three decades collaborating on public art installations and community-focused projects, including 2023’s “Reach,” a more than 2,700-pound fiberglass-and-resin sculpture at Chicago’s O’Hare International Airport of two hands nearly touching.

From left: Kennedy, 47, and Thomas, 48, photographed at Thomas’s studio in East Williamsburg, Brooklyn, on Feb. 28, 2024.

D’Angelo Lovell Williams

COBY KENNEDY: We met on a collaboration, actually. It was the summer of 1992.

HANK WILLIS THOMAS: I’d been recruited to work with Coby to renovate the darkroom at Howard University [in Washington, D.C.], where his father [Winston Kennedy] was the chair of the art program. We were in high school. Building a darkroom when you don’t really know how — that’s kind of the way we’ve always worked. Back then, Coby was a street writer.

C.K.: A graffiti writer, in the parlance of our times. My graffiti and school crews melded into this conglomerate [called] the Earthbound Homies.

H.W.T.: This was [during the] peak ’90s hip-hop days. The group was [made up of] all these young, primarily Black artists. I wasn’t one of them, I was a documenter.

C.K.: Hank was in museum studies, while the rest of us were in visual arts. He was very quiet and observant. It felt like he was always regarding you.

H.W.T.: The core of our relationship has been fostering opportunities for others to interlace their practices. The Wide Awakes [their most recent art collective, named after a progressive group that supported Abraham Lincoln during the 1860 presidential election] took off in my old studio in December 2019.

C.K.: We were trying to plug into society and see how we could influence it. When 2020 happened — the pandemic, the lockdown, the insurrection — we really hit the accelerator with it.

H.W.T.: I’d call the Wide Awakes our first public collaboration. But then again, 2016 is when “Reach” [their sculpture at Chicago’s O’Hare airport] first started. We’re excited to have it be one of the largest public acknowledgments of something we’ve been doing for 30 years.

C.K.: In our collaborations, we kind of fill in each other’s gaps.

H.W.T.: As a conceptual artist, I have great ideas — a lot of them. Coby, who has a history as an industrial designer and animator, is the bridge between the proposal and how it happens. With virtually every one of my public sculptures, he’s done all the initial concepting. He’s always had this ability to see what others are thinking. We also have different tastes.

C.K.: And they’re sometimes at odds with each other, which is one of the best parts [of our working relationship], because I’d hate for both of us to be middle ground.

H.W.T.: Coby has a very clear, singular vision, while I create art through consensus. I want to make a statement [so I’m often asking others], “What do you think about it?” I envy Coby’s talent. But I also think not having his talent gives me a reliance on other people, which is helpful in the context of making public art.

C.K.: I know that he’ll tell me the truth about anything I come up with, and he knows that if I have to talk trash about one of his ideas, I’ll talk trash about it.

H.W.T.: As much as I’d like Coby to think like me, then he wouldn’t be him and I wouldn’t be me. We allow each other to be who we are. — N.A.

INGAR DRAGSET AND MICHAEL ELMGREEN, ARTISTS Have worked as the duo Elmgreen & Dragset on more than 90 solo shows and site-specific installations, including a 2005 replica of a Prada store near Marfa, Texas, since 1995.

From left: Dragset, 54, and Elmgreen, 62, photographed at their studio in Neukölln, Berlin, on Feb. 7, 2024.

Julia Sellmann

INGAR DRAGSET: We met at After Dark, the only gay club at the time in Copenhagen, in 1994. I was 24 and Michael was 32. I thought he looked amazing — he had this Dennis Rodman-style hair that was bleached with baroque black patterns on it. We both had big Dr. Martens boots and were much grungier than the rest of the crowd.

MICHAEL ELMGREEN: The club was a classic disco — a lot of blown-out hair and Gloria Gaynor. It wasn’t difficult to spot each other.

I.D.: We got more than a little tipsy. When we both started to walk home, we realized that we lived not only in the same neighborhood but in the same building. That was the beginning of our 10-year romantic relationship. The artistic collaboration started eight months later, a little bit by accident. I was doing theater at the time.

M.E.: I was writing poetry and experimenting with texts that would morph in front of people’s eyes on IBM computers. To my surprise, I was considered a visual artist.

I.D.: Michael got invited to do an exhibition in Stockholm. He had the idea of creating abstract pets that people could cuddle, but he didn’t know how to make them. And I said, “Well, I’m good at knitting.” So that’s how the collaboration started.

M.E.: The Swedes are, as we know, a bit stiff; they were terrified about interacting with the artwork. So we were sitting in [opposite] corners with these knitted pets, cuddling them, and people thought it was a performance.

I.D.: That accidental performance inspired us to do more. The next one was a piece where I was furiously knitting at one end of a very long white cloth while Michael was unraveling everything from the other end. That should tell you a bit about our partnership.

M.E.: When we were coupled, we were almost the same size in clothes, so we even shared socks, we shared bank accounts, all our friends.

I.D.: We had one email account, one cellphone.

M.E.: Starting a new chapter after we split up was like meeting again, workwise. We had separate lives for some hours of the day. Suddenly, you could bring in exciting things that the other hadn’t experienced.

I.D.: It was a very difficult time. We put most things on hold, but we had one exhibition that would’ve been hard to cancel: a solo show at Tate Modern [in London]. In a big room with a window overlooking the Thames, we added another windowpane and, in between the panes, we had an animatronic but very realistic-looking sparrow that seemed to be gasping for life and flapping its wings, and nobody could help it.

M.E.: I think the beauty of it all was that we dared to stop being boyfriends because we knew we wouldn’t lose each other. Today, it’d be impossible to say who came up with what idea. It’s not two half authorships. It’s like this imaginary third persona in between us that we feed — an invisible genius kid who’s much, much younger, brighter and more charming than either of us. He’s creating the artworks. — J.H.

BOBBI SALVÖR MENUEZ, ACTOR, AND MICHAEL BAILEY-GATES, ARTIST Have collaborated on dozens of performances and photography projects throughout their decade-long friendship.

From left: Menuez, 30, and Bailey-Gates, 30, photographed at Smashbox Studios in Culver City, Calif., on Feb. 1, 2024.

BOBBI SALVÖR MENUEZ: I curated a 2014 show at [the Brooklyn exhibition space] Muddguts that was part of a series in which I invited people who didn’t always make performance work to create something in a performance context. We’d been in a group show together before and had mutual friends, and I was excited about the work I was seeing Michael make.

MICHAEL BAILEY-GATES: It was me, Bobbi and maybe two or three other people. I had this party trick of being able to talk really fast, like an auctioneer. When I said certain phrases, one of them would stand up, and another would scream at the top of their lungs or throw an object at someone.

B.S.M.: It felt like the beginning of us making things together on the fly. We both had this down-to-get-into-it energy that was well matched.

M.B.G.: We shared an urgency to make work come to life. Sometimes it’s as simple as being a body for another person. I’ve been the lead in Bobbi’s performances, and I’ve been in the background, lying on a floor covered in red paint. Performance art in New York at the time was about executing an idea without a lot of money. These days, I don’t go into a shoot thinking we’re performing, but it’s very much that: The camera is the audience looking back at us.

B.S.M.: Michael has this ability to see the kaleidoscopic possibility of someone’s self- expression. Around 2018, I was out as nonbinary to my close friends and finding my new name. I took a break from auditions and started working part-time as a substitute teacher. When a film I’d shot the year before got into [the 2019] Sundance [Film Festival], it was an invitation to step back into the spotlight. I’d shaved my head and was nervous about that formal, public coming- out moment. It just felt so cringe. I went to Los Angeles before going to Sundance and made some pictures with Michael that were only for us. Those were the first images of Bobbi that entered the world.

M.B.G.: I never want to make a picture of somebody that’s not reflective of them. I’ve chosen in my practice to always focus on a small group of friends, and those collaborations are the grounding force of my work. Without them, what would my pictures be? They’d be something less precious. — C.R.

Makeup: Zenia Jaeger at Streeters using Submission Beauty. Hair assistant: Drew Martin. Production: Resin Projects. Photo assistants: Michael Preman, Jack Buster

Humberto Leon, restaurateur and creative director

Leon, 48, photographed at his restaurant Chifa in Los Angeles on Dec. 14, 2023.

Ryan James Caruthers

Then: The co-founder, with Carol Lim, of Opening Ceremony, the influential New York clothing store established in 2002; the co-creative director of the French fashion house Kenzo between 2011 and 2019.

Now: Co-runs three restaurants in Los Angeles — Chifa, Monarch and Arroz & Fun.

In 1975, the year I was born, my mom opened a restaurant in Lima — my mom’s from Hong Kong, my dad from Peru — and so I’ve always thought of a meal as a way to learn and to meet new people. In 2020, I’d recently quit Kenzo and sold Opening Ceremony. My sisters and brother-in-law were in the midst of changes of their own, and we’d always wanted to tell my mom’s story. So we decided to open a restaurant together in Eagle Rock, the Los Angeles neighborhood where my family first lived when we immigrated to the United States in the late ’70s. We named it Chifa, after my mom’s place in Lima, and based the menu on a similar mix of classic Peruvian dishes like lomo saltado (beef stir fry) and anticucho (meat skewers) and Chinese home cooking — though my brother-in-law, the chef John Liu, has added some of his Taiwanese family’s culinary staples, too.

Starting anything new is scary, and I didn’t have the confidence to do so until the pandemic, which gave me time to try new ideas. (I also wrote a screenplay and a script for a TV show.) I tried to channel the intuition [I’d brought to Opening Ceremony] into other fields. I realized that what I’d done with the store was ultimately about the fond memories people had of the place rather than any specific product. Food does something similar: It creates conversations and memories.

I had the same feeling when I opened the store: “Will anyone show up?” We’d built Opening Ceremony from the ground up — no ads, only word of mouth — and that experience lent itself to launching Chifa, as well as Monarch and Arroz & Fun [our second and third restaurants, which opened last year in the Arcadia and Lincoln Heights neighborhoods, respectively]. In many ways, I’m bringing the same sensibility to the restaurants that I brought to Opening Ceremony: They’re places where you can discover new things. We aren’t aiming for formality or perfection. If anything, part of the experience is dropping your fork and noticing the cool terrazzo floor or really looking at the flatware, which we made with the designer Izabel Lam. As a person who shops and eats a lot, I want to be excited, to feel that nervousness of trying something new. — M.S.

Nick Cave, musician, writer and artist

Cave, 66, photographed at his studio near his home in Brighton, England, on Jan. 29, 2024.

Then: Rose to prominence with his post-punk band the Bad Seeds, formed in Melbourne, Australia, in 1983; became one of rock’s most celebrated lyricists and performers.

Now: Makes ceramics at a studio close to his home on the south coast of England, and his first major solo show, “ The Devil — A Life ,” is on view now through May 11 at Xavier Hufkens gallery in Brussels. Will release a new record with the Bad Seeds later this year.

I learned early on that the grand designs you have in life don’t always pan out. Starting in secondary school, I wanted to be a painter. I went to art school [for university in 1976] and, to my horror, failed my second year. At the same time, my first band [the Boys Next Door, which eventually became the Birthday Party] was starting to do well in the underground scene in Melbourne. I was much more interested in painting — I did figurative work that often referenced myself — but I’d failed, so I carried on with the band.

I started making ceramics during the pandemic. I collect Victorian Staffordshire-style figurines, the sort of thing an English grandmother might have on her mantelpiece, and one day I thought, “I could make these.” I found I was really swept up by clay. I struggle hugely with writing songs — not the music, but the lyrics. They never feel good enough. Mostly it’s all doubt and despair. But I don’t think I’ve felt more pleasure than I have when pulling a piece out of the kiln and looking at something I’ve made with my hands.

At some point, I had an idea to make a devil, mostly because I wanted to paint a figure in a fiery red glaze. I made one devil and then others, and eventually they began to tell a story. In the beginning, there’s a sort of lightheartedness about this wicked little guy: In his youth, he’s embedded in the world and in love with it. But then he kills his child, and [the figures] get dark and desperate. Later, he becomes remorseful and dies a terrible death. And in the end he’s forgiven by his child.

The death of a child is obviously very important to me because two of my own children have died. [Cave’s son Arthur died in 2015 at age 15. His oldest son, Jethro, died in 2022 at age 31.] And the works were saying something very powerful to me about my unfolding situation in life, something that my songs didn’t really talk about. I found that I could look at this poor devil in a pool of tears, with his lost child extending his hand to him, as a kind of meditation on my own place in the world and find a way that I — or we or whoever — may live a life. — M.H.M.

Jordi Roca, pastry chef

Roca, 45, photographed at Rocambolesc Gelateria in Girona, Spain, on March 13, 2024.

Anna Bosch Miralpeix

Then: Joined the restaurant El Celler de Can Roca — founded in 1986 by his brothers, Joan and Josep, in Girona, Spain — in 1997, becoming head pastry chef in 2000.

Now: After starting his own gelateria chain, Rocambolesc, in Girona with his wife, Alejandra Rivas, in 2012, and being diagnosed with a rare neurological disorder four years later, opened an outpost of the gelateria in Houston in 2022 with a neurodiverse team.

When I first started to lose my voice, it didn’t have much of an effect on my creative process in the kitchen. I had to learn to interact more through gesture, but I could still speak during quieter moments. That was around 2016, when I was giving a lot of interviews. It was a period in my career when I needed to speak but, instead, was a time of introspection. Once I got the diagnosis — I have an unusual expression of spasmodic dysphonia [a neurological disorder that causes spasms in the voice box] — it meant I could finally move forward. Now I think of this as just part of who I am.

The idea to open a U.S. branch of Rocambolesc, the gelateria, which has five locations in Spain, came a year or so before this. In 2015, when we were [hosting] cooking events around the world for Celler de Can Roca, we met our business partner Ignacio Torres in Houston. He has family members with autism, and having a place that would hire people with autism and Down syndrome was part of his idea from the beginning. By the time we opened Rocambolesc in Houston in 2022, we’d already had experiences in Celler de Can Roca with team members who had neurological differences. But staffing a project with a neurodiverse team was a huge personal gamble taken by Ignacio and his wife, Isabel, to transform the stigmas around neurodivergence in the United States. The project’s really been embraced in Houston. We have staff who’ve been with us right from the beginning. Of course, my own difficulties have given me a deeper empathy with people who can’t always express themselves in the way they might like. But what I’ve learned — especially through this project — is that we all live in the same world. There’re just many ways to see it. — M.S.

Cassi Namoda, painter

Namoda, 35, photographed with paintings in progress at her studio in Biella, Italy, on Feb. 25, 2024.

Claudia Gori

Then: A visual artist known for her spare yet color-rich depictions of contemporary African people and landscapes who was last based in the Berkshires region of Massachusetts.

Now: Living in Biella, in the Piedmont region of northern Italy, where she’s working in a new studio and preparing to become a mother.

Biella has a beautiful, fantastical landscape — you have a backdrop of the snowcapped Alps, but there are also palm trees, beeches, pines and cypresses. It’s an easier flight to my family in Mozambique [than from the United States]. And we’re a 10-minute drive away from my husband’s family.

I found an incredible studio where I can visualize having my child and making magnificent work. The commercial art world is a masculine environment. But this is my own world. There’s a large kitchen with big windows and an amazing chef’s oven, so there can be lunches. I’ll put in a daybed because I know I need naps. There’ll be a baby corner, with a crib and maybe some safe paints. I’m really into self-preservation and embracing femininity.

My life before was very utilitarian. Some days, I’d get to the studio early and be there until 3 or 4 a.m., eating popcorn and puffing on a cigarette. The child has already forced me to have a healthier balance with work. But I have these dreams about me before [there was] this new spirit in me. It’s not a somber or sad thing, like, “Oh, I wish I was Cassi in Tambacounda, Senegal, plein-air painting in the field.” But I’m remembering that person.

I finally got into the Italian health care system, which has been a nightmare. It’s not superfriendly to foreigners. Meanwhile, I’m preparing for a solo exhibition in September and a museum show opening in December. In my head I’m like, “The baby’s coming really soon, I don’t really have a doctor, I’m still setting up my studio and I have a 53-foot-long cargo container with all of my belongings arriving on Monday!”

There are large works to start but, with this heavy belly, I can’t balance on a ladder. I might bring the canvases down to the floor and rest them on bricks. I’m visiting a softer, more romantic side. The world’s in a dark place; why not make something beautiful? I’m seeing flamingo pink and yellow and sandy tones. It’s soft and rosy. I don’t think it’s because I’m having a girl — the sex of the baby is a surprise — but that’s how I’m feeling right now. — E.L.

Jon Bon Jovi, musician and singer-songwriter

Bon Jovi, 62, photographed at his restaurant JBJ Soul Kitchen in Red Bank, N.J., on March 1, 2024.

Sebastian Sabal-Bruce

Then: Co-founded the rock band Bon Jovi in Sayreville, N.J., in 1983. Began experiencing vocal difficulties in 2014.

Now: Is recovering from throat surgery, a process depicted, among other things, in the docuseries “Thank You, Goodnight: The Bon Jovi Story,” out this month. Will release a new album, “Forever,” with the band in June.

My problems started about a decade ago. In 2013, we had the number one tour in the world, and I was great for 100-plus shows. But in 2014, I wasn’t really making any music, which was hard psychologically. Then some of the recordings and shows we did, especially after 2017, were challenging — my range seemed to have narrowed and it was becoming difficult to sing consistently. But none of the professionals I saw could figure it out.

In March 2022, a doctor in Philadelphia explained that one of my vocal cords was atrophying. I thought I could get my voice back in shape if I just did enough shows, so I went back on the road. But it was a struggle. Finally, that June, I had an implant put [inside the cartilage of my larynx] to bring my [vocal folds] together. There was no singing at all for the first six weeks. Then I started speech therapy. I have rehab four times a week. But I’m still not sure what to expect. Yesterday when I was rehearsing with the band, I had a rough go with the song “Limitless” from the album “2020” [released by the group that same year]. I said, “Guys, I only ever sang this song when I was broken. I don’t know how to sing it not broken.” If I had the word “lay,” I’d put an “E” on the end of it to try to push it up to pitch: “layeee.” But right after that, I popped the high notes on [our 1986 hit] “Livin’ on a Prayer.”

This new album’s much more of a collaborative record than the ones I’ve made in the past. It’s a celebration of my accepting any and all input and acts of kindness. It’s not been a good decade. It’s not been easy to not be the best guy in the band; it’s not easy to be the worst. It’s humbling but I don’t mind the humility. I just want my tools back. Yesterday, I pressed the point-of-no-return button and said yes, in theory, to a handful of possible shows abroad for the summer, the first ones since the spring of 2022. I’m not an applause junkie. I do it because I love to write a song and play it for people. If I have all my tools, it’ll be a joy. — E.L.

Grooming: Loraine Abeles

Titus Kaphar, artist

Kaphar, 47, photographed at his studio in New Haven, Conn., on Feb. 22, 2024.

Artwork, from left: Titus Kaphar, “I Knew,” 2023 © Titus Kaphar; Titus Kaphar, “Do You Want It Back?” 2023 © Titus Kaphar; Titus Kaphar, “Some Things Can’t Be Worked Out on Canvas,” 2023 © Titus Kaphar

Then: An artist whose works, which often confront family history and the experience of being Black in America, are in the collection of the Museum of Modern Art, among other institutions.

Now: Wrote and directed his first feature-length film, “Exhibiting Forgiveness,” which premiered at Sundance in January. Paintings Kaphar made for the film (pictured above) will be shown at Gagosian in Beverly Hills in September.

“Exhibiting Forgiveness” started as a series of paintings — in particular, with one of a burning lawn mower. It didn’t take long to realize that what I was doing wasn’t best processed with paintings alone. [The film focuses on a successful artist, Tarrell, played by André Holland, who struggles to deal with the reappearance of his estranged, abusive father, La’Ron, played by John Earl Jelks, who’d force Tarrell to perform grueling manual labor as a child.] The power of painting’s often the absences: what’s not there, what’s implicit. You don’t know what happened before and you don’t know what will happen after. In film, you have an opportunity for elaboration.

I’ve tried hard not to read reviews of the film, though a friend sent me one. It was positive but what [the critic] wrote at the end, I’ll never forget. He said, “But I can’t say this film is entertaining.” [ Laughs. ] With film, some of us expect entertainment, to have a great time. And that response does frame the way we distinguish film from painting. As a painter, I don’t stand in front of [Pablo Picasso’s] “Guernica” and go, “This isn’t entertaining!” I didn’t approach filmmaking as anything different from painting. I wanted the film to be a painting in motion. The way I make decisions in the studio, about how to follow my intuition or instincts, or how to lay out a composition, was the same process I used on set. The difference is I had an extraordinary cinematographer and cast of actors to help me realize the paintings in my head.

At its essence, “Exhibiting Forgiveness” is about generational healing. I took on this project because I wanted to have a conversation with my children about the world I grew up in, which is so different from the world they’ve grown up in. And I think making the film helped resolve something within me. The revelation I had is that I can’t make my father out as the villain in my mind. He’s a victim of violence himself. And even though [he] created challenges for me, I’ve never wondered whether or not he loved me. — M.H.M.

Bárbara Sánchez-Kane, artist

Sánchez-Kane, 36, photographed at his studio (the artist uses she/her and he/him pronouns interchangeably) in Mexico City on Jan. 22, 2024.

Ana Topoleanu. Artwork, clockwise from left: Bárbara Sánchez-Kane, “La Diegada,” 2016, courtesy of the artist and Estudio Sánchez-Kane; Bárbara Sánchez-Kane, “Tragic Stages,” 2023, courtesy of the artist and Estudio Sánchez-Kane; Bárbara Sánchez-Kane, “Moctezuma’s Revenge,” 2017, performance by Sierva M, courtesy of the artist and Estudio Sánchez-Kane, photo: Karla Ximena

Then: The designer of Sánchez-Kane, the genderless clothing brand she founded in Mérida, Mexico, in 2016.

Now: An artist working with painting, sculpture and performance — while still running the label.

One of my first shows in a museum was at the Institute of Contemporary Art in Los Angeles in 2017. The curators invited me to present a collection from my fashion line that I’d shown in New York, and I said, “No, but maybe I can do a performance.” There’s a kind of freedom in making wearable sculptures because, in the end, clothing has to be ergonomic: The jacket I made with boxing gloves has an opening for your hands so you can eat a burger. But for the ICA show, I created a pair of transparent plastic pants with a metal frame that made them almost impossible to walk in. And last year, for my first New York solo exhibition, at Kurimanzutto gallery, I made a piece from 1,170 black plastic belts that was so big and heavy, I had to break it into parts to show it. I remember reading an article by the queer theorist Jack Halberstam on the work of the artist Gordon Matta-Clark, who would [create] windows in structures where they shouldn’t be. For me, the work is like that: opening windows that give you a different way of seeing what’s in front of you.

I started as an industrial engineer first and then became a fashion designer, but I’ve come to realize that it doesn’t matter what you’ve studied or haven’t. When I feel like the worst sculptor, I think, “Well, at least I’m a good designer.” And when I feel like a great sculptor, I might look at [the clothes in my studio] and think, “Those terrible [expletive] trousers!” Expanding into other fields is a way to embrace yourself. All we have is our imagination, which allows us to create things: objects, garments, skins that we wear when we go out into the world. I’m not saying they’ll save us, but maybe they can help us navigate the transition to another universe. — M.S.

Miguel Adrover, 58, Calonge, Majorca

The former fashion designer Miguel Adrover, now a full-time photographer, photographed at home on Majorca, Spain, on Jan. 8, 2024.

The provocative Spanish fashion designer, who had a New York-based clothing line, put a sheep on the runway and made a coat out of the ticking from the gay icon Quentin Crisp’s discarded mattress. He left the industry over a decade ago.

I started my own line in 1999 in New York, where I had been living in the East Village since 1991, and shut it down in 2005 and left the city. In 2012, I [returned] to present one runway show, which I called Out of My Mind. It was made up of personal garments I’d repurposed. I was 46. 

I’d been trying to find a way out of this unsustainable industry, this imaginary fantasy that fashion creates. My collections dealt with social justice, environmental consciousness and diversity before those topics became mainstream, and some seasons I didn’t sell anything. I never had a sugar daddy, and I invested everything I made back into the company. 

I miss New York a lot. I’m homesick for it, but it isn’t the same city, and fashion is very different, too — it feels inauthentic and disconnected from reality. When I was doing consulting and research for Alexander McQueen [in the mid-90s], we had no money. But the energy was amazing. When you don’t have money, that’s when you’re most creative. Now all of these big companies have so much money that it feels like a different world. [Still] I’d love to have the chance to put on one last presentation, one last show to express how I feel today and how I see the world right now. 

When I left New York, I decided to come to Majorca, where my parents have a farm. I started doing photography accidentally; I had no knowledge of cameras, every day was a process of me learning something totally on my own. There was a 300-year-old well on the property with no water inside, and I realized it could be my studio. It’s kind of like a basement; light comes from a little window high above. It reminds me of my apartment in New York. It’s where I develop my [projects]. I use things that surround me: tulips and rose bushes, fruit trees, a tropical garden, chickens. 

When I got here, I didn’t have a team [as I did in fashion], and one of the challenges was being surrounded by people who don’t care about what I did or what I’m doing. Photography was the ideal thing to do because I don’t need anybody, I can do it on my own. I don’t have any models; I started working with mannequins and, for many years, I collected them on eBay or from secondhand stores on the island. [I decided] I’d rather not use models — when you photograph human beings, they’re pretending or acting, and I was running away from that.

It’s been nine years since I found photography, and I’m really happy. I have a monograph coming out later this year. The photographs are like my biography. I’ve developed my style in photography and I have a creative language. Fashion was the platform I once used, but the soul inside me is the same. — interview by J.W.

Ralph Ellison, writer, circa 1913-94

Ralph Ellison, the author of the 1952 novel “Invisible Man,” in June 1957 during his fellowship at the American Academy in Rome.

James Whitmore/The Life Picture Collection/Shutterstock

Ralph Ellison spent seven years writing his only completed novel, “Invisible Man,” and its publication in 1952, when he was in his late 30s, not only catapulted him to literary fame but made him nothing less than a spokesperson for postwar America. His contemporary Norman Mailer would write of him that at his best, “He writes so perfectly that one can never forget the experience of reading him.” “Invisible Man,” a surreal picaresque that follows an unnamed Black protagonist — “a man of substance, of flesh and bone,” Ellison writes — as he travels through a country full of people who “refuse to see me,” is a book of such remarkable confidence that Ellison’s career, in later years, became mired in questions of what next? Ellison, a prolific writer of essays, reviews and criticism, worked for years on a follow-up, suffering one setback when a 1967 house fire destroyed portions of his manuscript. When he died in 1994, he left behind thousands of pages of drafts, fragments and unfinished tangents. Ellison’s literary executor and longtime friend, John F. Callahan, tried to edit the material down into a “single, coherent narrative,” as he put it, and published the result, called “Juneteenth,” in 1999; the New York Times critic Michiko Kakutani called it “disappointingly provisional and incomplete.” Ellison often struggled with writing. He once likened his second novel to a “bad case of constipation” and, in a 1958 letter to his friend the author Saul Bellow, Ellison wrote, “I’ve got a natural writer’s block as big as the Ritz and as stubborn as a grease spot on a gabardine suit.” — M.H.M.

Charles Laughton, actor and director, 1899-1962

The actor turned director Charles Laughton with the actress Sally Jane Bruce on the set of “The Night of the Hunter” (1955).

Everett Collection

Born in the last year of the 19th century, Charles Laughton left his family’s successful hotel business at the age of 26 to study acting at the Royal Academy of Arts in London. What he lacked in movie star looks — the critic J. Hoberman described him as “coarse-featured, overweight and slovenly” — he made up for in talent. Following a successful stage career in London’s West End, he turned to film, making a name for himself as a versatile character actor in the 1930s and ’40s. In 1955, at the age of 55, he made his most indelible contribution to his craft, directing “The Night of the Hunter,” a film noir so dark it easily passes today as horror. (William Friedkin, the director of 1973’s “The Exorcist,” described it as “one of the scariest films ever made.”) Robert Mitchum plays a terrifying ex-convict posing as a preacher and stalking the children of his former cellmate in order to find a hidden fortune. While casting Lillian Gish in the role of the children’s caretaker, Laughton told the actress about his disappointment in audiences’ lack of attention for movies, how they “slump down with their heads back, or eat candy and popcorn. I want them to sit up straight again,” he said. Though now often ranked among the greatest American movies, “The Night of the Hunter” — released just a few years before Alfred Hitchcock’s “Psycho” (1960) made the psychological thriller into a marketable genre — was a commercial flop. Reviews were mixed; The New York Times’s Bosley Crowther called it “a weird and intriguing endeavor.” Years later, Terry Sanders, a second-unit director of the film, wrote that “the rejection by critics and the indifference of audiences hit [Laughton] hard and crushed his spirit. It wasn’t just disappointment he felt, it was utter and deeply debilitating devastation.” He never directed a second movie. — M.H.M.

Willis Alan Ramsey, 73, Loveland, Colo.

The singer-songwriter Willis Alan Ramsey, photographed at Sam’s Town Point bar in Austin, Texas, on March 14, 2024.

Caleb Santiago Alvarado

The singer-songwriter Willis Alan Ramsey, originally from Alabama, released his self-titled debut album in 1972, becoming a forebear of the alt-country genre. Jimmy Buffett and Lyle Lovett became devoted fans. More than 50 years later, Ramsey still hasn’t completed his second album.

I started trying to write songs around 1968. My first song was just awful, but I got better over time. I dropped out of college twice, the second time in 1970, from the University of Texas [at Austin], after discovering a folk club where I became an opening act for $5 a night. Those were golden, halcyon days in Austin filled with sunshine and margaritas and very little traffic. That fall, I left to begin performing at colleges around the country. I was briefly back in Austin to play at U.T. and, somehow, during two days there, I’d managed to play for Gregg Allman and Leon Russell, two of the most influential musicians of that decade. They both gave me their cards and said to look them up if I ever made it their way. [I went to Los Angeles] and recorded a demo at Skyhill, Leon’s personal home studio, and he basically offered me the moon to sign with his new label, Shelter Records [which folded in 1981]. I’d just turned 20. Over the next year, I recorded my first and only album to ever be released [“Willis Alan Ramsey,” often known as the Green Album for its green cover].

I finished the record when I was 21. I was just a kid. Leon gave me my career, to the extent that I’ve had one [but the reason I never released another record was also] Leon’s fault. He told me that if I signed with Shelter, he’d show me the studio and how it worked, and he did. I immediately wanted to learn everything I could about the recording process. I used seven studios and three rhythm sections [to make the record]. I was given carte blanche. The budget was 85 grand. I could do it for 200 grand [now], but I can’t do it any cheaper. I’d need to rehearse every musician. And my songs are all over the place. I get bored doing one particular style.

I’m the most frustrated recording artist you’ve probably ever met in your life. But I still feel I’ll figure something out. I’ve always been optimistic. I’ve got at least three more records of material. I’m pretty tough on myself in terms of writing, and I’m very attached to what I’ve written. I just haven’t been able to get a deal that’d work for me. I mean, the world works, you know? I think the key is just to work with the world. — interview by M.H.M.

Photo assistant: Sergio Flores

Harper Lee, writer, 1926-2016

The writer Harper Lee in her hometown, Monroeville, Ala., in 1961, the same year that her debut novel, “To Kill a Mockingbird,” won the Pulitzer Prize.

Donald Uhrbrock/Getty Images

“I sort of hoped someone would like it well enough to give me encouragement,” Harper Lee said in a 1964 radio interview, describing her low expectations for her 1960 debut, “To Kill a Mockingbird.” Instead, her novel, about a lawyer in the fictional town of Maycomb, Ala. (a stand-in for the writer’s hometown, Monroeville), who defends a Black man from a false accusation of rape by a white woman, became one of the biggest literary sensations of its era. Lee, who worked as an airline reservations agent in New York for a few years before quitting (with friends’ financial support) to work on her writing, won the Pulitzer Prize in 1961; two years later, a film adaptation starring Gregory Peck won three Academy Awards. “To Kill a Mockingbird” would go on to sell tens of millions of copies and become a fixture of high school English classes.

Lee had a hard time with her sudden fame. After that radio interview in 1964, she mostly avoided the press and, as the years and decades passed without a second novel, Lee continued to guard her privacy, albeit regularly attending the Methodist Church in Monroeville and occasionally visiting the local high school during lessons about her work. The year before she died at age 89 in 2016, a previously unknown novel, “Go Set a Watchman,” which had been written before “To Kill a Mockingbird,” appeared to tepid reviews and claims that Lee, by then largely deaf and blind following a stroke, had been manipulated into releasing subpar work. Controversy aside, even just the announcement of a lost novel reignited interest in Lee’s lone masterpiece; at that point, sales of “To Kill a Mockingbird” in trade paperback nearly tripled. — M.H.M.

Luc Tuymans, 65, visual artist

Luc Tuymans, “Mijn Grote Vakantie” (1967).

Courtesy of the artist and David Zwirner. Photo: Alex Salinas

When I was 7 or 8, we had to make drawings for school about our summer holidays. I was completely intrigued by the people gathering the garbage outside of our house in Antwerp [Belgium] — their truck, their dress code. During a summer day, I took out my colored pencils. I wrote underneath the drawing, “My Big Vacation.”

It came across as fairly cynical: My big vacation was garbage. It wasn’t meant that way. I really was intrigued by this operation. [Looking at it now] I’m amazed that there’s this perspective already in it. The teacher didn’t believe I made the drawing and took me by the ear to the blackboard to do it again in front of the class.

I’d been bullied a lot as a kid. I was extremely shy. Drawing was a way out, in a sense. I’d draw people who came to visit my parents and, at the end of the year, when exams were done, I’d make drawings for the whole class — whatever they wanted. I always had a ballpoint pen and a piece of paper with me, and people would gather around me while I was drawing, sometimes 20 to 30 of them. The kids were happy to have a drawing, but it didn’t really change the bullying pattern.

I saved most of my [childhood] drawings and gave them to my nephew. Unluckily, he lost them. This is virtually the only one that survived, and I gave it to my wife as a present.

It’s quite interesting to see the size of things — the difference between the houses and the people — and most of all, the idea of space that was already in the drawing. [If I were to redraw this today] it’d be a bit more meticulous, more worked out. But it’s an indication of things that would come later. My skepticism is embedded in this drawing without my doing that consciously — this quite specific, sardonic sense of humor. When I found it again, I had to laugh very, very hard. — J.H.

Do Ho Suh, 62, visual artist

Do Ho Suh, “Tiger Mask” (1971).

This drawing is based on a Japanese anime character, Tiger Mask, that was really popular in the ’70s. Back in those days, Korean TV broadcast Japanese anime in black and white. Everybody at school watched. The character is a pro wrestler who puts on a tiger mask to disguise his identity. I drew the mask directly from the anime. I was probably 9.

Once my friends saw it, they all wanted one. Demand for tiger masks became much greater than supply. Some of the rich kids wanted to trade their Japanese pencils — which had graphics or custom characters on the surface — and colorful erasers for a drawing. My parents couldn’t afford those things, and they weren’t available in Korea. The kids’ parents must have traveled to Japan, which was quite rare back then, and brought them back. [Eventually] I had a box full of those pencils, but I didn’t have the guts to actually use them. The pencils are untouched; the erasers are dried out. For some reason, my mom kept them all these years. — J.H.

Niki Nakayama, 49, chef and Restaurant owner

Tonkatsu is a Japanese home-style staple. It’s a breaded, deep-fried pork cutlet — “ton” means “pork” and “katsu” is a sort of translation of “cutlet” — and it was my absolute favorite food when I was a kid. When my mom made tonkatsu, she’d have my sister and me do the breading, and we really bonded over that. It helped me understand family. We’d set up in the dining room and dredge the cutlets in flour, dip them into the egg wash, cover them with dried breadcrumbs and stack them high on paper plates that we’d bring in to my mother to fry up. Our kitchen had high countertops, and I can remember her standing at the stove in these three-inch platform clogs she’d wear to be a little taller. 

I loved seeing how something became something else — it felt like unraveling magic. One day when I was about 9, I came home from school and got the brilliant idea to make my own [but with chicken]. I grabbed some drumsticks from the freezer, did the breading and, while standing on a stool, dipped them in hot oil. (I never admitted this to my mom.) When they turned the color they were supposed to, I was so proud. I bit into one and it was still frozen. That was my first shock of “I can’t believe I didn’t make [this thing] the way I imagined it would be.”

Anytime I was in Japan, especially in my 20s, my friends there would ask what subarashii gochiso, or “the best thing one could possibly eat,” was for me. I’d say tonkatsu, and they’d be like, “What?!,” because it’s such a simple dish — it was like asking for a sandwich. It isn’t the sort of thing I specialize in at my restaurant [N/Naka in Los Angeles], and I don’t have it often anymore because, as I age, I’m trying to eat lighter, but I still associate it with deliciousness and with happiness. Ever since childhood, I’ve thought of food as being about coming together and cooking as an expression of care and love. Having been on the receiving end of that, I do the work that I do to try to make people happy. — K.G.

Marina Abramović, 77, performance artist

Marina Abramović, “Truck Accident (I)” (1963).

© Marina Abramović/Courtesy of the Marina Abramović Archives/ARS, 2024

When I was a teenager in Communist Yugoslavia, there were these ugly green trucks that weighed so much, they often fell over. I started taking photographs of them and trying to paint them at home. But that wasn’t enough for me, so I bought some toy cars and left them on the highway to see if the real trucks would smash them; they were always untouched. I was fascinated by car crashes. Then when I was 17 or 18 years old, I painted the big car smashed and the little car protected — the idea that innocence survives everything.

My mother studied art history, and I was always going to museums. When I was a baby, my first words weren’t “mama” or “papa”; they were “El Greco.” I had my first exhibition at a youth center when I was 14. They mostly had group shows, but I made so much work that I had my own show. I always say I was jealous of Mozart because he started at 5.

I didn’t know then that painting wasn’t my ultimate goal. It takes a long time to realize who you are. I remember the incredible joy of going into my studio — an extra space in my family’s apartment — with my little cup of Turkish coffee. I would be so much in the dream of painting that I’d accidentally drink turpentine instead of the coffee.

Though I wasn’t aware of it [until recently], this crash represents the energy that I’d create in my early performances: two bodies running toward each other, crashing into each other and making this blurry image. My research today is about the body and how to create a field in which you aren’t afraid of pain, of dying, of limits. When you’re young, you don’t see the straight line but, [looking back] it all seems so logical. — J.H.

Deborah Roberts, 61, visual artist

Deborah Roberts, “James” (1982).

Courtesy of the artist

I used to do a lot of drawings of people at church or kids in the neighborhood. I made this when I was 19, of this boy who came by to play with my brothers. My mother threw most of my drawings away. She had eight children; she couldn’t have all that stuff piling up.

[With that many siblings] you only get attention when you’re sick. But I got a lot of attention for drawing. I was the best artist in my school. The teacher would ask me, “What grade would you want?” I’d say, “I want an A+.” I had a big head. Then I went to the gifted and talented program with high school art students from all over Austin, Texas. I wasn’t the best anymore, but it just made me work harder. That’s where I was first introduced to the work of Henry Ossawa Tanner [one of the first African American painters to achieve international fame, in the early 20th century]. I didn’t even know there were Black artists. We didn’t have the internet or access to museums. We were poor.

I’d ride a small yellow bus to a community college to meet in a special room for the three-hour art class. Eventually, I became the best student in that class, at least in my head. They didn’t ask me what grade I wanted, but I still got an A.

If I were doing it now, I’d blend that hair into the wood better. I wouldn’t have light sources coming from two different areas. But if you look at my collages today, my whole idea’s about seeing people as humans, as children, as vulnerable. I think this is a very vulnerable piece. — J.H.

David Henry Hwang, 66, playwright

David Henry Hwang, manuscript of “Only Three Generations” (1968).

Courtesy of David Henry Hwang. Photo: Lance Brewer

I was about 10 years old, and my maternal grandmother got sick and it looked like she might be close to the end. I remember feeling that that’d be quite tragic — not only would I lose my grandmother but she also happened to be the family historian. I was one of those kids who, for whatever reason, was always really interested in hearing about family history. 

I was born and raised in Los Angeles, but my mom grew up in the Philippines, where my maternal grandparents still lived, so I asked my parents if I could spend a summer there. I went and collected what we’d now call oral histories from my grandmother on cassette tapes, then came back and compiled them into a 60-page family history, “Only Three Generations,” which was [photocopied] and distributed to my family members. Then in the early aughts, someone — my uncle, I think — went and printed two or three dozen copies as a bound version.

I wasn’t someone who felt [that] writing was my calling. I didn’t do another major writing project until I got to college and started writing plays, so I find it interesting that the one time I took on [something] like this was to contextualize myself in a historical framework. That’s consistent with what I’ve done as an adult: sometimes being at sea about who I am and looking at history to gain a sense of self.

The [history] starts with my great-great-grandfather, then the second [part]’s about my great-grandfather and then the third section’s about my grandmother’s generation. I [used] their real names. I think I was trying to be fairly accurate, as opposed to when it later became the basis of my [1996] play “Golden Child.” There’s a lot more liberty taken there. When we did the play on Broadway, my grandmother was still alive and came to see the show. She was supportive of it, but I feel like she liked this version better. — J.A.R.

Ice Spice wears a Balenciaga jacket, $2,150, balenciaga.com; Norma Kamali dress, $350, normakamali.com; Graff cross necklace, $14,000, graff.com; Alexander McQueen shoes, $1,150, alexandermcqueen.com; stylist’s own tights; and her own jewelry. Photographed at a private home in Los Angeles on Feb. 6, 2024.

Photograph by Shikeith. Styled by Ian Bradley

Name: Ice Spice Profession: Rapper Age: 24

Debuting in: Her first full-length album, “Y2K,” titled after her birth date — Jan. 1, 2000 — which comes out this year.

What she’s excited about: “Going on tour. I can’t wait to see my fans up close and personal and really interact with them — interacting with fans online can be a little overwhelming. All their profile pictures are of me. It feels like a bunch of me’s talking back: It’s weird. Especially when it’s pictures I’ve never seen or don’t remember.”

What she’s nervous about: “I don’t even want to put out that energy. People don’t need to know what I’m nervous about.”

How she works in the studio: “If I was already dressed up and cute, that’d produce a different vibe — but for the most part I like to be really comfortable. I need inspiration around me, too, so I’ll have stacks of money sitting next to the mic. Or I have a bunch of stickers of, like, boobs and butts, stuff like that. They’re drawings, though — I don’t just have porn in my studio.”

How it’s gotten easier since making her EP: “When I was working on [2023’s] ‘Like ..?,’ I was stressed out because I had no idea how the next song was going to come out. Each time, I was like, ‘How am I going to make another song that’s good?’ But then it happened, and then it happened again and again so, after that, I was like, ‘OK, making music is really fun.’ As long as I’m having fun, it’s going to sound fun — and I’m going to be happy with it.” — J.A.R.

Production: Resin Projects. Makeup: Karina Milan at the Wall Group

Katigbak, photographed at Lincoln Center Theater in Manhattan on Feb. 2, 2024.

Jennifer Livingston

Name: Mia Katigbak Profession: Actress and co-founder of NAATCO Age: 69

Debuting in: Lincoln Center Theater’s revival of Anton Chekhov’s “Uncle Vanya” (1899), opening this month.

What she’s excited about: “My character, Marina [the central family’s maid], infantilizes everyone. Everything is falling apart around her, but she’s like, ‘Aren’t the old ways better?’ There are a lot of possibilities in that — without getting too metaphorical about the state of Russia, politically and socially.” 

What she’s nervous about: “There’s always going to be that common nervousness of ‘I’m going to mess up,’ but somebody brought to my attention that NAATCO [the National Asian American Theatre Company, which was founded in 1989] has done quite a lot of Chekhov; I didn’t even realize it, and I chose all of them. What I find fabulous about Chekhov is that there are sad situations but also human comedy. You have to find the funny if you’re in dire straits, otherwise you’ll slit your wrists.”

How she feels about having her Broadway debut after five decades on the New York stage: “You live long enough, [expletive] happens. I’d kind of figured, ‘Maybe I’m not Broadway material.’ Usually, when Asians get cast, it’s a musical, and I’m not a singer-dancer, so it was never necessarily going to be a goal. I’m a little bit more realistic: I recently got a text [with a photo of the ‘Uncle Vanya’ ad] from a colleague who said, ‘Look at Miss Fancy Pants,’ and I’m like, ‘I’m just a working stiff.’”

How she reinterprets classics: “From the get-go, the point of NAATCO was to ask people to open their vistas in terms of ‘how, what, by whom, for whom’ in theater. We tackled the Western classics first — William Shakespeare’s ‘A Midsummer Night’s Dream’ (1600) and Thornton Wilder’s ‘Our Town’ (1938) — and my only caveat was not to change them to Asian settings. I remember the first couple of years, maybe decades, people always used to ask, ‘Oh, you’re doing Shakespeare! Are you going to set it in Japan?’ Which isn’t bad, but it’s not the only way to do it. Reception was mixed; there was criticism from both Asian and non-Asian audiences. When we started to do new work — with Michael Golamco’s ‘Cowboy Versus Samurai’ in 2005 — it became a redefinition of what immigrant stories were. Most of the time, the work’s thought of as only one thing, so that was something to figure out. But you can say that about all good theater: It’s asking you to receive something in a different way.” — J.A.R.

Smith, photographed at Rambert School of Ballet and Contemporary Dance in the London suburb of Twickenham on Feb. 14, 2024.

Andrea Urbez

Name: Arielle Smith Profession: Choreographer Age: 27

Debuting in: A reimagined “Carmen,” based on the French writer Prosper Mérimée’s 1845 novella about a Roma woman in southern Spain, which Smith has set instead in Cuba for the version (of the same name) she’s choreographing that premieres at San Francisco Ballet this month.

What she’s excited about: “As a performer, I trained in classical ballet but then went into contemporary dance — the reason I fell out of love with ballet was that the female roles didn’t feel empowering. Not that I needed to be empowered all the time, but every story was dictated by the relationship a woman has to a man. So when Tamara [Rojo, the company’s artistic director] approached me, my first thought was, ‘How could we justify another “Carmen”?’ I wondered how the story would change if one of her lovers was a woman. Musically it’s also not the same — we’ve got a new score from the Mexican Cuban composer Arturo O’Farrill [departing from the French composer Georges Bizet’s 1875 opera], so it’s quite a leap from where it was birthed.”

What she’s nervous about: “I don’t see the point in telling a story again the same way, so that’s one element I’m not nervous about ... but I’m about everything else. The challenge is trying to tell an intimate story in a big space. To make this piece well, it has to move people in some way, and that’s what I’m anxious to get across — for people to feel something.”

How she’s translating the Spanish-set story to Cuba: “Bizet wasn’t Spanish, [so] I thought it’d be more interesting to mainly hear Cuban sounds. I’m Cuban; Tamara’s Spanish; and [the Uruguayan fashion designer] Gabriela Hearst is our costume designer. It’s a full Latinx team, but we’re all different. And this is a universal story that’s not driven by geography. It’s not set on a certain road in Havana but in the soul of these people. I’m not trying to overly examine Cuba. It’s about who I am, as a person who happens to be Cuban, and what my voice contributes.” — J.A.R.

Photo assistant: Callum Su

Pidgeon, photographed at Playwrights Horizons in Manhattan on March 10, 2024.

Sean Donnola

Name: Sarah Pidgeon Profession: Actor Age: 27

Debuting in: “Stereophonic,” a new play by David Adjmi with music by Will Butler (formerly of the indie-rock band Arcade Fire), which transfers to Broadway this month following a run at Playwrights Horizons, where it premiered last fall — that production was Pidgeon’s New York stage debut.

What she’s excited about: “This story [about a fictional band’s interpersonal struggles while recording an album in the 1970s] talks about relationships and what one has to sacrifice to make art. New York’s full of artists, and I’m excited to hear what types of conversations people have after seeing the show.”

What she’s nervous about: “The transition to the Golden Theatre. Singing’s so vulnerable. It’s one thing to mess up in front of 200 people, another to mess up in front of four times that many. Off Broadway, we’d have instruments [accidentally] break down halfway through a scene, and we’d have to figure out how to make it feel authentic.”

How she created her character, Diana, one of the band’s lead singers: “Diana’s not looking to other people to give her an example — she’s not following some blueprint. Her band’s waiting for her to make that next great song, and she gets commodified really fast. I can’t say the same for myself, but I’m [also not dealing with being] a woman in [rock in] the 1970s.”

How she settled into the three-hour play’s slowed-down, naturalistic rhythms: “Our director, Daniel Aukin, kept talking about a documentary feel. I think the design of the play — of hearing overlapping conversations — is [very] fly-on-the-wall. Because of its realism, it can evoke the feeling of a film. There’s this sense that it’s not necessarily a performance when we’re doing these shows; it’s not showy. It’s this thrill of being able to keep things private while also recognizing there’re people in the audience two feet away from you. As an actor, you really feel the tension.” — J.A.R.

Hair: Tsuki at Streeters. Makeup: Monica Alvarez at See Management

Olujobi (third from left), at the Public Theater in Manhattan on March 9, 2024, along with (from left) the “Jordans” actor Naomi Lorrain, the director Whitney White and the actors Brontë England-Nelson, Kate Walsh, Ryan Spahn, Toby Onwumere, Meg Steedle, Matthew Russell and Brian Muller.

Video by David Chow

Name: Ife Olujobi Profession: Playwright Age: 29

Debuting in: “Jordans,” her first fully staged production, opening this month at New York’s Public Theater under the direction of Whitney White. The play is about a 20-something woman named Jordan (Naomi Lorrain), the only Black employee at a creative studio, whose office life is upended when her boss hires another Jordan (Toby Onwumere), who’s also Black, to be the company’s director of culture. 

What she’s excited about: “For a while, this was that play everybody thought was great but nobody wanted to produce. I thought it’d just be a thing that ends up on the page: It’s such a crazy, visual play that lives in this imaginative space, with a lot of production elements. I’m excited to bring that to life — and have it be people’s introduction to me.”

What she’s nervous about: “Making a play that feels current — in the sense that I started writing it in 2018, did the first reading in 2019 and now we’re in 2024. The play addresses the idea of bringing people of color into a [professional] situation as a trend, not out of any genuine interest in them. It has to do with quote-unquote diversity in the workplace, and it feels like we’ve gone through three different cycles of that conversation since I started writing it. I’m trying to synthesize everything that we’ve been through in the past six years but not feel like I’m shaping the play to respond to these fluctuations.”

How she found her way to playwriting: “I was in the Public’s Emerging Writers Group in 2018, which was my introduction to theater. I was never a theater kid; film was my first love — I’d worked at the Criterion Collection during school and done my thesis in screenwriting. When I graduated [from New York University], I [only] wrote a play to get into the [playwriting] group. I had this experience of being fired three times in a row [after] graduation and felt like I had to express something about being the only Black person entering professional spaces.”

How the play’s surrealist tone came to be: “The main character gets coffee poured on her face in the first scene. For me, that was a big breaking open of the play: ‘This is the kind of world that she’s living in. What else can happen in this world?’ It has what we might call surreal elements, but I don’t always think about it that way because, within this play, everything is real. It’s not a dream.” — J.A.R.

Photo assistant: Serena Nappa. Digital tech: Zachary Smith. Production: Shay Johnson Studio

Kim, photographed at his restaurant, Noksu, in Manhattan on Jan. 15, 2024.

Daniel Terna

Name: Dae Kim Profession: Chef Age: 28

Debuting in: Noksu, the 14-seat tasting counter he’s run since last October below ground in Manhattan’s Herald Square, where he serves Korean-inflected dishes, including grilled mackerel with brown butter and squab with gochujang agrodolce.

What he’s excited about: “I had a feeling, during the pandemic, that something might change — like everyone had to start [again] from zero. Even three-star sous-chefs changed careers: They’ve stopped working in restaurants; they’re selling truffles or doing kitchen shows or TikToks. There was a gap, and I thought if I played up my Asian heritage and my French cooking background, someone would be looking for that. Then I met [the restaurant’s] owners, and they offered me this space in a Koreatown subway station.”

What he’s nervous about: “With restaurants, you prove yourself every day. There’s no tomorrow, no next week. I knew I had to have a tasting menu: I have a personal goal — I’m not telling anyone what it is — and, to reach that level, I think it can only be a tasting menu. I’m not enjoying cooking that much; it’s not a passion. This is my career. I don’t cook at home but, if I think about that goal, it makes me come to the restaurant.”

What he took from working at the New York restaurants Per Se and Silver Apricot: “I really thought, ‘What kind of person am I? What kind of cook? What’s my individualism?’ Working in fine dining is such an honor, but it’s their food. It’s not me. I started focusing on food that would represent who I was.”

How he’s handling everyone’s dietary restrictions: “Right now, we don’t accommodate, because we’re a small kitchen. But sometimes they can push you: If a guest can’t eat dairy, how do you make that sauce creamy without using milk? It requires more work, more thought, more team effort. It’s happened a couple of times, and we just freestyle.” — J.A.R.

Tyla wears an Alexander McQueen jacket $5,990, and shorts, $1,690, alexandermcqueen.com; and Prada shoes, $1,120, prada.com. Photographed at Issue Studio in Los Angeles on March 16, 2024.

Photograph by Shikeith. Styled by Sasha Kelly

Name: Tyla Profession: Singer-songwriter Age: 22

Debuting in: Her first full-length album, “Tyla,” released last month. It’s the product of more than two years of collaboration with writers and producers from around the world — and her first time traveling outside of South Africa (she grew up in Johannesburg). Together, they refined her sound, which she describes as “music that people can dance to: Afrobeats, pop, R&B and amapiano,” the last of which is syncopated electronic music that originated in South Africa in the 2010s.

What she’s excited about: “My first tour. My creative director, Thato Nzimande, and I have been speaking about this forever. I have Coachella coming up and, after sitting for so long with this music and all these ideas, I’m excited to see people’s reactions.”

What she’s nervous about: “I used to be very nervous about performing because all of this is very new and, once something’s on the internet, it’s saved forever. I don’t want to look at it years from now and be cringing . I’m a perfectionist but, as an artist, you’re never going to be happy with everything all the time. That’s something I had to learn — how to let go.”

How she synthesizes South African and American influences: “I love the sound of amapiano production, with the log drum and the shakers and the drops. But I’ve also always wanted to be a chart-topper like Michael Jackson and Britney Spears and now SZA, except I wanted to do it with my sound [her first hit, “Water,” debuted on the Billboard Hot 100 in October]. Obviously, people believe, ‘Oh, I have to make just pop.’ But that’s boring to me. I want to sell what I know and love.”

Why South African music has global appeal: “People say they can feel it, and that’s cool because we feel it. It’s very spiritual to us; it’s a genre we feel in our bodies. All these amapiano dance moves that everyone does, it’s not even dancers that come up with these moves — it’s just random people, drunk uncles in the corners of clubs. It’s organic, and I think people are looking for that genuine vibe.” — E.L.

Production: Shay Johnson Studio. Hair: Christina “Tina” Trammell. Makeup: Jamal Scott for YSL Beauty

Peck (near center, in a black shirt), photographed at the Park Avenue Armory in Manhattan on Feb. 27, 2024, along with (top row, from left) the “Illinoise” musicians Kathy Halvorson and Jessica Tsang, the dancer Craig Salstein, the musician Brett Parnell, the dancers Byron Tittle and Christine Flores, the musician Kyra Sims, the dancer Robbie Fairchild, the musician Daniel Freedman, the vocalist Shara Nova, the music arranger and orchestrator Timo Andres and the music director Nathan Koci; (middle row, from left) the vocalist Elijah Lyons, the dancer Ahmad Simmons, the vocalist Tasha Viets-VanLear, the dancers Ricky Ubeda and Kara Chan, the writer Jackie Sibblies Drury and the associate music director Sean Peter Forte; (bottom row, from left) the musician Domenica Fossati and the dancers Jeanette Delgado, Ben Cook, Alejandro Vargas and Rachel Lockhart.

Video by Jason Schmidt

Name: Justin Peck Profession: Director and choreographer Age: 36

Debuting in: “Illinoise,” the first stage musical he’s directing, which opens this month on Broadway after a run last month at the Park Avenue Armory. Based on the singer-songwriter Sufjan Stevens’s 2005 indie-folk album, “Illinois,” the show was also conceived and choreographed by Peck, who collaborated on its narrative with the playwright Jackie Sibblies Drury.

What he’s excited about: “The ‘Illinois’ song cycle [in which every track relates to the Midwestern state] is one of the great albums of the last 20 years: [Sufjan] didn’t have a recording studio; he’d find a musician up in [New York’s] Washington Heights and record a violin part without realizing what it was going to be part of — he’d run all over, assembling [bits]. I’ve had a long collaboration with him [Peck has based six ballets on Stevens’s music, beginning with “Year of the Rabbit” for New York City Ballet in 2012], so it feels full circle, having discovered that album as a teenager.”

What he’s nervous about: “It’s not a conventional musical; it lives between genres. It’s framed as a gathering around a campfire, being intoxicated by the heat … a campfire beckons storytelling. We enter into the worlds of these people sharing stories on an evening in the wilderness. That’s a difficult thing for managing audience expectations. One of the most challenging parts is trying to tell a full story without words. There are lyrics, but even the lyrics have a sense of poetry to them. They’re not literal.”

How he brought on board his collaborator Jackie Sibblies Drury: “Sufjan was involved early in developing the musical arrangements but has been relatively hands-off [since being diagnosed with Guillain-Barré syndrome, an autoimmune disorder, last year] and wasn’t in a place where he wanted to go back to that time in his life. I needed a storytelling partner. Jackie told me how much she loved the album; when she moved to Chicago, she and her then boyfriend listened to it on the road there. A lot of these songs resonated with both of us at a coming-of-age time in our lives, and that’s part of our approach: intimate and personal.” — J.A.R.

Production: Shay Johnson Studio. Photo assistants: Shinobu Mochizuki, Tom Rauner. Digital tech: Kyle Knodell

Stella, photographed at Percy Priest Lake Park in Nashville on March 7, 2024.

Stacy Kranitz

Name: Maisy Stella Profession: Actress and singer Age: 20

Debuting in: “My Old Ass,” a coming-of-age comedy in which her character, Elliott, a young woman leaving her small Canadian hometown for college, meets her 39-year-old self, played by Aubrey Plaza, while tripping on mushrooms. In theaters this August, it’s Stella’s first movie — and her first acting project since spending much of the past decade on the TV series “Nashville” (2012-18), in which she played a country star’s singer daughter.

What she’s excited about: “Being reintroduced in a way that feels true to me. I was a baby when ‘Nashville’ started; it’s hard to have people see you as a character for so many years. You have to be careful with the next thing you do, especially after you take a break [to finish high school], and I wanted to be represented in a way that felt genuine and pushed me in the direction I wanted to go. I thought a project like this would come 10 years down the line, if ever.”

What she’s nervous about: “I think I confuse anticipation with anxiety. I just feel general anticipation all the time, whether it’s about a date this weekend or this movie coming out; it’s that feeling that something’s about to happen. In my body, I might confuse it with nerves, but there are happy and cozy feelings, as well, so it levels out.”

How she collaborated with the writer-director Megan Park on her dialogue: “I watch a lot of young adult shows and think, ‘Oh my God, we sound so dumb. We don’t talk like that.’ Not everything’s abbreviated and slang. Megan [who’s 37] knows how to write for Gen Z because she includes us in her process. She doesn’t have an ego and molds her characters to who’s playing them. We’d do scripted takes and then ‘fun runs,’ where we got to improv, and she’d add lines in the moment.”

What was it like creating the template for Plaza’s character: “You’d think Aubrey would’ve come first, but I was the first one attached to the film. In any other situation, it’d be me matching her, but I feel like Elliott is very similar to me so, when Aubrey and I met, I could feel her filming me with her eyes, trying to get a scope.” — J.A.R.

Hair and makeup: Laura Godwin

Lakota-Lynch (bottom row, in a white T-shirt), photographed at Open Jar Studios in Manhattan on Feb. 26, 2024, along with (top row, from left) the “Outsiders” composer Zach Chance, the choreographers Rick and Jeff Kuperman and the writer and composer Justin Levine; (middle row, from left) the actors Brent Comer, Jason Schmidt, Joshua Boone, Kevin William Paul and Dan Berry; (bottom row, from left) the actors Emma Pittman and Brody Grant, the director Danya Taymor, the writer Adam Rapp and the actor Daryl Tofa.

Justin French

Name: Sky Lakota-Lynch Profession: Actor Age: 32

Debuting in: “The Outsiders,” a new musical that opened this month and is based on S.E. Hinton’s 1967 novel about rival teen gangs. Lakota-Lynch plays Johnny Cade, a shy 16-year-old from an abusive home. He appeared in “Dear Evan Hansen” in 2018, but this is his first time originating a role on Broadway.

What he’s excited about: “I’ve been with the show for six years, and it finally feels fully baked. People are going to be expecting us to come out tap-dancing, but you have [the writer] Adam Rapp and [the director] Danya Taymor, and those people have never done a musical. It’s the ultimate place for an actor-singer. It’s truly a play with music [by Zach Chance and Jonathan Clay of the folk duo Jamestown Revival, and the songwriter Justin Levine], and I think it’s going to shock people.”

What he’s nervous about: “It’s going to be sad to eventually let Johnny go. I’m doing this on Broadway, but it’s like the period at the end of the sentence.”

The actor sings a snippet of James Taylor’s 1970 song “Fire and Rain.”

Video by Jordan Taylor Fuller

How he’s approaching playing a beloved character: “Johnny doesn’t have a lot of lines: He’s like an Edward Scissorhands [type] — I have to fill the space with energy. The cool thing about playing the character is that I got to imbue him with myself. I’m Native American and Black, and the story is set in Tulsa, Okla., where that’s [not uncommon]. My costume has Native American embroidery; my version of Johnny feels fully fleshed out. Of course, I stole things from Ralph [Macchio, who played the role in the 1983 Francis Ford Coppola film] and from the novel — it’s that fine line between tough and tender, but it’s tailored to me.” — J.A.R.

Production: Shay Johnson Studio. Photo assistant: Shen Williams-Cohen

Becoming a Character

The comedian and actress Meg Stalter, photographed at Smashbox Studios in Los Angeles on Jan. 24, 2024, tests a few moods in front of the camera.

Photographs by Shikeith. Styled by Delphine Danhier

The comedian and actress Meg Stalter, 33, started gaining attention on social media during the 2020 Covid-19 lockdowns when she posted absurd short-form videos playing different personae, like a Disney World team leader conducting an employee orientation. The following year, she had her TV debut on HBO’s “Hacks” as Kayla, a less than helpful assistant to a talent agent. Now she’s filming her first lead role on the new Netflix series “Too Much,” written and directed by Lena Dunham (and loosely based on Dunham’s life), in which she plays the workaholic Jessica, who responds to a breakup by moving to London.

I took so many improv classes when I first [was] doing comedy. It’s the starting point for me when I develop characters. During the pandemic, I’d do improv on Instagram Live every night. The theme would be “We’re going to Paris” or “We’re doing a women’s exercise class.” It was just me doing improv online by myself for hours. When I take on a role, I study the script and imagine if I had to improv a scene. “What would I add or take away? How’s this person different from me? What could I give to the character of my own personality?”

When I read the part of Kayla, I’d already met Paul [W. Downs, a co-creator of “Hacks”] at a stand-up show. [I found out later that] he had me in mind when he wrote the script. That was almost more nerve-racking: It was strange to think, “What if I lose this part to someone else but they were thinking of me in the first place?”

Kayla started as the assistant who comes in and says a crazy line. But in the third season of “Hacks,” she has more emotional scenes, which add another layer: When a character experiences a range of emotions, it makes the crazy stuff even funnier.

The comedian and actress tells a knock-knock joke.

At first when you get a script, you picture yourself in it and think, “Oh, well, she probably looks like me.” That changes the more you get to know the character. Lena [Dunham]’s been so open to talking through Jessica. She’ll say, “Tell me what you think about the hair,” and, “Tell me if there’re any outfits you don’t like.” She even made a playlist Jessica would listen to. There’s Avril Lavigne, Girlpool, Sabrina Carpenter. When I’m studying the script, I’ll play that in the background. Jessica’s into the dreamy side of London and Jane Austen. She’s a little girlie and wears a lot of pink. She wears [nightgowns] as actual dresses and things that’re a little bit too cute for work. I sent [the costume designer] Arielle [Cooper-Lethem] some dresses from Fashion Brand Company. They look like [they could be in an Austen adaptation] but modern and sexier. Like shirts with ribbons all over or matching sets made of lace. Everything’s kind of funny but also hot. It’s stuff I would’ve worn when I thought I was straight. I feel like Jessica’s the straight version of me.

It’s interesting to be playing a version of someone whose work I’ve admired for so long. I’ve rewatched [Dunham’s 2012-17 HBO series] “Girls” so many times. To have everything she’s written in my head but be told, “Just do it the way that you would do,” or, “This is all yours now,” it feels freeing. There’re some directors and writers who want you to say exactly what’s on paper.

When you’re in character in front of a camera, there’re certain things you can’t prepare for. I can research so much for a part — create memories for the character, talk through costume — but if it comes out differently [than what I imagined], that’s OK. It’s important to be able to let go and let the scene be what it is. Some people torture themselves after performing. They’re like, “I should’ve said this or that.” I really don’t do that. Once it’s out there, that’s what it’s supposed to be.

Stalter wears, from start: Versace dress, $1,990, versace.com ; and Alexander McQueen ring, $690, alexandermcqueen.com . Versace dress and headband, $325. Wray shirt, $185, wray.nyc ; Dolce & Gabbana dress, $2,095, dolcegabbana.com ; and Sophie Buhai earrings, $395, ssense.com .

Production: Resin Projects. Hair: Tiago Goya. Makeup: Holly Silius. Manicure: Pilar Lafargue

Making a Painting

The artist Roberto Gil de Montes, photographed at his studio in La Peñita, Mexico, on Feb. 13, 2024, painting “Man With Lizard Mask.”

Photographs by Nuria Lagarde

Since 2005, the painter Roberto Gil de Montes, 73, has lived and worked in the fishing village of La Peñita de Jaltemba north of Puerto Vallarta on the Pacific coast of Mexico. He was born in Guadalajara but moved as a teenager to Los Angeles, where he was active in the Chicano art movement. It wasn’t until he took part in the 2020 show “Siembra” at the gallery Kurimanzutto in Mexico City, though, that the art world took notice of his dreamlike Surrealist works. Next year, Gil de Montes will be the subject of a career survey at the Los Angeles County Museum of Art.

I live in a place where there’re no museums or galleries. I’m inspired by my surroundings — by the jungle, by the ocean. I often say there’s no better background than the ocean for painting. I have two studios: one at home, where I work on paper, and a painting studio in town near the ocean. Usually, I start at home on paper. I either sketch or use watercolor wash. If I’m going to do an oil painting, I go to the studio in town. Before I work, I might just sit around and look at books — I like [monographs about Henri] Matisse, [Paul] Cezanne, [Edouard] Manet. It’s sort of a meditation. A lot of times, an idea surges when I’m working on something already; other times, it might be a memory. Or a dream. The other day, I had a dream that I was taking a photo with my phone of a house on fire — but I was conscious that the house was a drawing. [When I woke up] I thought, “Well, I should do a painting of that.”

I’m very intrigued by how memory works and how the memory of something can trigger [a new idea]. [While putting together the career survey] I’ve revisited all of these old works of mine. Some I remember painting. Others I don’t remember at all. I’m 73 years old. I forget things, and then I start thinking, “Wow, this is interesting because if I’m working from memory and forgetting things, how’s that going to affect the work that I do? How can I explore that?” For instance, somebody sent me a painting they said was mine. I said, “No, I didn’t do that painting. I’m sorry,” only to find out that I’d signed the back. A lot of the ideas I’ve been working on come from the past. In the [2022] Venice Biennale, I had a painting [“Up,” 2021] of somebody hanging upside down or falling through the sky. That came [about] when I walked into the studio and noticed I had inadvertently put a painting upside down. I said, “Actually, that’ll make a good painting upside down.” I don’t know how other artists work. I’m very open to ideas.

Reimagining a Retrospective

The conceptual artist Jenny Holzer, photographed at her studio in upstate New York on Feb. 6, 2024, with LED text from her series “Survival” (1983-85), which will be on view at her exhibition at the Solomon R. Guggenheim Museum from May through September.

In 1989, the conceptual artist Jenny Holzer installed an LED scroll of aphorisms — “Abuse of power comes as no surprise” is among the most famous — on three of the six internal ramps of the Solomon R. Guggenheim Museum in New York. It was part of her retrospective “Untitled (Selections From Truisms, Inflammatory Essays, the Living Series, the Survival Series, Under a Rock, Laments and Child Text).” Next month, Holzer, 73, will restage the work there as part of her show “Jenny Holzer: Light Line” (which will also include other pieces from her 50-plus-year career). But this time, the LED installation — which will display the original “Truisms” and other text series — will go all the way to the top.

I’m a self-loathing, slow study so [ahead of the 1989 retrospective at the Guggenheim] I had to walk and walk around and around and around the museum. It finally occurred to me, “Oh, around and around is the answer [to how the piece should be displayed].” I’m relieved I attended to what Frank Lloyd Wright did: The building is magnificently, utterly self-sufficient. It doesn’t necessarily need art, and it’s inclined to shrug it off at times.

As I was developing the new exhibition, I started walking the museum again — and not just the ramps. I went up and down the stairs a few thousand times. I went in the elevator, in assorted bathrooms, in nooks and crannies. And in those places, I put everything from the first diagrams I made in the ’70s on up to icky paintings made by A.I.

The conceptual artist discusses a sculpture by the artist Louise Bourgeois.

Video by Joshua Charow

If I have a specialty, and I’m not certain that I do, it’s installation. I like hunting and seeing. The first step is to go blank, with no preconceptions. And then, since it is visual art, using my eyes to see. Then that mysterious thing happens: Ideas come — when you’re lucky. Otherwise, you try again.

When I’m just trying to make a new artwork for anywhere, it’s adequate to lie on the couch with my eyes closed and wait for that pizza to arrive — the “art” pizza. But when I’m [fortunate enough] to be in a building like Wright’s Guggenheim, it’s — surprise, surprise — necessary for the body to be in the space. Alert, alive, all tentacles reaching out, all senses going. And on some level, being hopeful.

Photo assistant: Ece Yavuz

Adapting an Ibsen Play

For the second time, the playwright Amy Herzog, 45, has adapted a work by Henrik Ibsen. The first was “A Doll’s House” (1879), starring Jessica Chastain. Herzog’s latest staging, “An Enemy of the People” (1882), stars Jeremy Strong as Dr. Thomas Stockmann, a physician who is shunned for warning his town that its lucrative public baths are contaminated. Michael Imperioli plays his brother, Peter Stockmann, the mayor, who seeks to suppress Thomas’s findings.

When I begin an adaptation, I first read a few different translations of the play. Then I try to get those out of my head. For “A Doll’s House” and now “An Enemy of the People,” I’ve worked with a translator named Charlotte Barslund. She does a literal translation in English, which stays as close to the feeling and meaning of the original Norwegian as possible. I go through that line by line, translating it into my own words without making any big decisions. Once I have my first version, I start the bigger work of cutting. For “An Enemy of the People,” we cut three characters. I decided to cut the character of Katherine, Thomas Stockmann’s wife, after a lot of conversations with Sam [Gold, the play’s director and Herzog’s husband]. Her sections weren’t working; they were feeling really turgid. There’re sections that his daughter, Petra [played by Victoria Pedretti], could pick up if Katherine was gone.

What was remarkable about cutting Katherine was realizing how little had to change. The fact that you didn’t have to do major surgery on the play was one tell that cutting Katherine was a good idea. It gives Stockmann this recent terrible grief. It’s a particular grief when you’re a doctor, I think, to lose a spouse — to be the doctor who can’t save your loved ones. That spring loads the play as it begins: He’s reaching a place where he can have happiness again — [only] to be completely betrayed by his community and to lose everything he’s finally gained.

Ibsen wrote domestic psychological plays and social plays. “A Doll’s House” is the former and “An Enemy of the People” the latter. [When adapting “A Doll’s House”] I learned some pretty basic things about the mechanics of making it feel leaner and more modern. But other than that, it was shockingly different to translate them and humbling that he had plays that were so totally different inside of him. This play is bigger and rangier and even more relevant than “A Doll’s House.” It’s very timely — there’re a few headlines it brings up. One is climate change. I was reading a lot about scientists who weren’t listened to when they tried to sound the alarm years ago. I was also reading Naomi Klein’s [2023 memoir] “Doppelganger” and thinking about the way the body politic becomes sick. I try to do a lot of research before writing — I read a fair amount of Ibsen biographies — so there’s no single influence that’s too loud while I’m working. When I’m really doing the translation, I need quiet and cloistering. So there’d be gaps in my communication with [Jeremy] and everyone else. Then there’d be the moments, after reading a draft, when it was time to talk and become porous again.

Jeremy was the reason for the production. From the moment I began to work on “An Enemy of the People,” I knew who was playing Thomas Stockmann. I’ve known Jeremy since 1997, and I’ve seen a ton of his work, so his voice was influencing the way I adapted that character.

[Jeremy and Dr. Stockmann] are similar in that they both have a total commitment to what they believe in. Having someone in my life with that kind of devotion to his craft and to his storytelling means that I’m coming to [the character] with the texture of a real, contemporary person. Every few days, he sends me a poem or an article or something that’s meant something to him related to the play. He sent me the William Butler Yeats poem “A Coat.” The first three lines are “I made my song a coat / Covered with embroideries / Out of old mythologies.” There’s this incidental line in Ibsen’s original [script] that people often cut — but I didn’t, I love it — when Captain Horster [Dr. Stockmann’s loyal friend] makes his first entrance before you even see Dr. Stockmann, who says, “Hang your coat on that peg. Oh, you don’t wear an overcoat?” Captain Horster is this character who has no pretense and is an uncorrupted type of human. And Ibsen has him coatless at the beginning. So the idea of a coat and what it is to cover yourself has become an interesting thematic touch point for us.

Putting Up a Gallery Show

Since graduating from the Rhode Island School of Design in 1999, the visual artist Joe Bradley, 49, has made a habit of reinvention. His style continuously shifts, from mixed-media sculptures to line drawings to highly saturated large-scale canvases. His most recent exhibition of paintings opens this month at David Zwirner gallery in New York.

I tend to arrive at my studio [in Long Island City, Queens] around nine, turn the lights on, make a pot of coffee. Then, depending on what sort of stage the paintings are at, I’ll just start working. If it’s early on [in the piece], I’m much more active. When the paintings [begin] to come together, it’s a lot more about just looking and making little decisions to resolve things. I don’t have a real ritual. I don’t even have to be in any particular state of mind. If I’m distracted or depressed or happy or whatever, I just come in and see what happens.

I do begin with some practical decisions. I know how big the painting is going to be and what sort of surface I’m going to be working on. I know what the contour of [a show] will look like. I don’t make any sort of preparatory sketches — the paintings reveal themselves to me through the process of working on them. But the deadline [for the show] ends up being this organizing force. It’s the day your entire year revolves around, the time [by which] you know the paintings will have to be presentable and cohesive. It’s helpful to have that because, otherwise, you could keep things up in the air indefinitely.

When I paint today, I might be responding to a mark on the canvas that I made six weeks or six months ago. What I’m doing early in the process isn’t going to be available visually by the end — most of it’ll be painted out or it’ll disappear in the process. I lay traps or create little problems for myself to encounter. It’s almost like the uglier it gets in the early stages, the better the painting will be.

Building an Installation

The artist Suzanne Jackson, photographed at her Savannah, Ga., studio on Feb. 1, 2024, works on a piece that will eventually be installed on a terrace at the San Francisco Museum of Modern Art.

Kendrick Brinson

The Savannah, Ga.-based artist Suzanne Jackson, 80, has worked as a dancer, a set and costume designer, a professor and a poet — but most notably as a painter. Jackson describes her ethereal compositions as “anti-canvases,” which she creates by building up layers of acrylic paint and at times found materials, including netting and produce bags. In 2025, she’ll display a selection of work from her six-decade career, along with a new site-specific installation, as part of a retrospective at the San Francisco Museum of Modern Art.

I’m working on a commission for the fourth-floor terrace of [SFMoMA]. It’s an installation that’ll climb the walls of the terrace and partially fill the open space. My approach is quite different than if I were working on a painting in my studio: I have to think of it in an architectural or sculptural sense. There’re technical aspects, so I’ve been doing a lot of research in airports and from airplane windows, looking at large-scale structures that don’t fall down — things on the rooftops of buildings like windsocks or poles. This piece will be built from the ground up, unlike my other work that hangs from the walls or ceiling.

I don’t go looking for ideas. I just go into the studio and start painting. Now that I’m older and not teaching, I don’t have to do anything except paint. In the morning, I roam around the house. I do the laundry. I feed the cats. I look out the window and stare at nature. I have a big window at the end of my kitchen and can see tall trees and birds and animals and insects. I go through the studio to get to the kitchen from my bedroom, so sometimes I end up stopping and looking at work I’ve already done. There’s a lot of sitting and thinking and looking. Sometimes, I’ll turn on music — Charles Mingus and Eric Dolphy or Yo-Yo Ma. On Mondays and Fridays, it’s [the Savannah radio D.J. and jazz historian] Ike Carter’s show “Impressions.”

As the music flows, so does the paint — that’s a spiritual environment to be in. Other times, I’ll work in absolute silence. At the beginning, I explore. I’m never quite sure what’s going to happen. Usually, it comes spontaneously. One brushstroke leads to the next, and then it becomes another idea. I might think I have one idea when I start, but it often changes along the way to be something completely opposite. I’m just having a good time being a painter. That’s how I started, and it’s how I’m going to end.

Photo assistant: Dayna Anderson

Lorraine O’Grady,

89, new york city.

The multidisciplinary artist and critic, whose solo show at Mariane Ibrahim gallery in Chicago opens this month.

Lorraine O’Grady’s “Announcement Card 2 (Spike With Sword, Fighting)” (2020).

© Lorraine O’Grady/Artists Rights Society (ARS), New York, courtesy of Mariane Ibrahim, Chicago, Paris, Mexico City

I thought I was going to be a writer. My family tells me that I made my first poem when I was a year and a half old: “I like mice because they’re nice.” [In my early 30s, after working for five years] as an intelligence analyst, I went to the Iowa Writers’ Workshop for fiction. I hadn’t really been reading fiction, though, so I wasn’t very good at writing it. I spent most of my second year there translating short stories written by my instructor [the Chilean novelist] José Donoso.

Growing up, I had all these exposures to beauty. I’d gone to the Museum of Fine Arts in Boston as a child and seen [Paul] Gauguin’s “Where Do We Come From? What Are We? Where Are We Going?,” a painting that continues to influence me. And my mother was a dress designer. She redid our house every six months. By the time I was 10, I basically had everything that I’m now working with in place, but I didn’t have the language. I didn’t get that language until the early 1970s, when I read [the critic and curator] Lucy Lippard’s “Six Years: The Dematerialization of the Art Object From 1966 to 1972.” [Then] I was ready. The ideas for my visual art already existed within my experience. I just hadn’t known they were art before.

A few years later, when I was in my early 40s, I had to have a biopsy of my breast. After — thank God, it was negative for cancer — I was thinking about what I could give my doctor as a thank-you present. Reading my copy of the Sunday New York Times, I saw a line in the sports pages about Julius Erving that said, “The doctor is operating again.” I said, “OK, this could be the start of something,” and I made a really good poem for my doctor [out of words clipped from the newspaper]. But when I finished the poem, I said, “This is too good to give to him.” Then I immediately started making newspaper poems for a project called “Cutting Out The New York Times.” I made one every week for 26 weeks. When I finished, I realized that I’d become a visual artist — or revealed that I was a visual artist. — interview by J.C.

Toni Morrison,

The author of 11 novels, including “Beloved,” “Sula” and “Song of Solomon.”

By the time Toni Morrison wrote “Beloved” (1987), her best-known novel, she’d worked for nearly two decades as a book editor. Her debut, “The Bluest Eye” (1970), was published when she was 39 and, while not a commercial success, was critically praised. She published three more books between 1973 and 1981 — including “Song of Solomon” — while still at her editing job.

Prior to going into publishing, Morrison — who had a master’s degree in American literature from Cornell University — spent nearly a decade teaching college English. After her divorce, she worked for a textbook division of Random House before joining Random House proper as its first Black female editor; there, she championed and published Black authors such as Angela Davis, June Jordan, Gayl Jones and Toni Cade Bambara. “I didn’t go to anything. I didn’t join anything,” she once said about the civil rights movement. “But I could make sure there was a published record of those who did march and did put themselves on the line.” All the while, Morrison was waking by dawn to write before heading into the office. She’d later describe those sessions as a form of liberation: “The writing was the real freedom because nobody told me what to do there. That was my world and my imagination. And all my life it’s been that way.”

For many years, Morrison considered her day job essential to her art. “I thrive on the urgency that doing more than one thing provides,” she once said. But the industry had its difficulties — the overwhelming whiteness, the increasing commercial demands — and she left her position in 1983. Four years later, at age 56, she published “Beloved.” In a preface to the 2004 edition of the book, she looks back on the rush of feelings she experienced following her last day at the job. “I was happy, free in a way I had never been, ever. It was the oddest sensation. Not ecstasy, not satisfaction, not a surfeit of pleasure or accomplishment. It was a purer delight, a rogue anticipation with certainty. Enter ‘Beloved.’”

65, New York City

The multidisciplinary artist and former drag performer, whose paintings are currently on view at the Dallas Contemporary art space and the MassArt Art Museum in Boston.

A 2023 acrylic on canvas by Tabboo! titled “Lavender Garden.”

My mother put me into an art class when I was 15 at the Worcester Art Museum, and then I went on to art school [at the Massachusetts College of Art and Design], where I majored in painting and fine art. I remember my first sale, to my aunt Julie. She wanted me to copy [Jean-François] Millet’s “The Gleaners.” I didn’t want to copy someone else’s stuff — I think one of the reasons I’m popular is that I’m very original — but I still did the painting, of course. It was a commission and I was being paid!

I started performing drag in nightclubs when I moved to New York in 1982, but I’ve always been painting, too. This isn’t something I just came up with, like, “Oh, I can’t get on ‘RuPaul’s Drag Race,’ I better start painting.” I had one-man shows and gallery exhibitions right after graduating from art school. Elton John and Gianni Versace bought my paintings. I don’t want anyone to have the impression — which certain people seem to — that I took up painting just because I stopped doing drag. I might be getting a bit more attention for it now, but I’ve always been doing it.

I usually get up at four in the morning. I feed my cat and then start painting. A lot of my paintings are sunrises. And I do sunsets and cityscapes. Or if it rains in a weird way, I’ll do a rain painting. It’s a very spiritual, meditative, private thing. There isn’t a day that goes by that I haven’t done something, and so my work gets better and better and better. And I must say, I’m a master of my craft now.

Sometimes a collector will ask, “Can we come over to the studio and watch you paint?” I tell them no. I usually do it naked. — interview by J.C.

Justin Vivian Bond,

60, new york city and the hudson valley, n.y..

The performer and multidisciplinary artist, whose work has been exhibited at Participant Inc. and the New Museum in New York City, and will be on view at Bill Arning Exhibitions in Kinderhook, N.Y., in May.

Justin Vivian Bond’s watercolor “Witch Eyes, by Viv, to Protect You From Evil Chodes: Lois” (2024).

When I was in high school, I was interested in visual art as well as music and acting, but I decided to major in theater in college because I thought it was a career that could get me out of Maryland and allow me to move to New York. I became a performer, and I’ve been doing cabaret for many years. In 2008, when I broke up my cabaret act Kiki and Herb, my rent was so cheap that I didn’t have to work as much. I started painting again, and it flows very naturally for me.

My watercolors are primarily portraits of people I know. I’ll ask them to pose for a photograph and then paint from that. I also make pseudo fan art, like my “Witch Eyes” series, which is based on iconic photographs of celebrities’ eyes. The wonderful thing about painting is that you have total control over it, if you’re lucky. Onstage, there’re so many variables. And with painting, you don’t have to be there [when people see your work]. I love being in front of an audience, but I don’t really love being among people. The pleasure for me is singing but, when the show’s over, I have to talk to a lot of people. I like all of them, but there’re too many, so it can be a little overwhelming. You don’t ever get to connect on a deeper level. The most satisfying times in my life have been when my shows have been installed and it’s the night before the opening. All of it’s exactly how I want it — the room, the lighting — and I just sit there and look and have this sense of utter satisfaction. — interview by J.C.

Wallace Stevens,

The poet, whose best known works include “The Emperor of Ice-Cream,” “The Snow Man” and “Anecdote of the Jar.”

Wallace Stevens never quit his day job. Though he had literary ambitions as a young man, serving as the editor of the Harvard Advocate as an undergraduate, he earned his degree from New York Law School and in 1916 joined the Hartford Accident and Indemnity Company, where he remained, specializing in surety and fidelity claims, until his death, in 1955. Yet he was writing all the time: on his daily walk to work, at home in the evenings and sometimes in the office.

It wasn’t until 1914, when Stevens was 34, that his first post-college poems appeared in literary journals. He went on to publish seven volumes of poetry over the course of his lifetime. The first, “Harmonium,” released in 1923, sold fewer than 100 copies; the last, 1954’s “The Collected Poems of Wallace Stevens,” won the Pulitzer Prize.

The themes of Stevens’s work — the affirming power of art and beauty, the sublime contained within the mundane — suggest one reason why he stuck with insurance law even as his artistic acclaim grew. His steady paycheck would have allowed writing to remain a purely creative act. In his essay “Surety and Fidelity Claims,” Stevens says of his insurance work, “You sign a lot of drafts. You see surprisingly few people. ... You don’t even see the country; you see law offices and hotel rooms.” Poetry, on the other hand — as he characterizes it in 1923’s “Of Modern Poetry” — “must be the finding of a satisfaction.” It was his livelihood, in the most artistic sense of the word.

Theaster Gates,

50, chicago.

The University of Chicago professor and multidisciplinary artist, whose solo shows at the Gagosian gallery in Le Bourget, France, and the Mori Art Museum in Tokyo open this month.

Theaster Gates’s sculptural work “Sweet Sanctuary, Your Embrace” (2023).

© Theaster Gates. Photo: © White Cube

In 2000, I took a job as the arts planner at the Chicago Transit Authority. There was so much new construction happening there, and my role was to appeal to the Federal Transit Administration for a portion of the transit money to be set aside for public art. In a way, it was like an M.B.A.: I managed $26 million over four or five years. My negotiating skills went through the roof.

I’d graduated from Iowa State [in 1995] with a degree in community and regional planning and then did a [post-baccalaureate] in religious studies and fine art at the University of Cape Town. After that, I spent time in Japan studying ceramics. So when I came to the C.T.A., my background incorporated both art and community and, every day, I was leaving there and going to my ceramics studio.

In 2005, I left the C.T.A. because I outgrew the position, and I stopped making pots because I couldn’t afford my studio. I started using more recycled materials in my work [such as wood pallets]. It was during this period that I was starting to combine my knowledge of minimalism and conceptual practices with my background in building and working with my dad, who was a roofer. Now buildings have kind of become my primary monuments, and the project management and team building that I learned at the C.T.A. are really evident in the way that I create.

I did a project at the New Museum [that opened in late 2022 and] was essentially an exhibition about mourning and loss. My father had died six months prior to the opening, and I didn’t have time to mourn his death or the deaths of dear friends like [the fashion designer] Virgil Abloh, my mentor [the Nigerian curator and art critic] Okwui Enwezor, [the author] bell hooks and [the film scholar] Robert Bird. The show grew out of a desire to grapple with my feelings and honor these people. The museum didn’t necessarily have the budget to do all of the things that I wanted to, so I had to figure out, “Are there poetic ways to articulate loss that don’t require substantial build-out, or big, fancy gestures or expensive audio equipment?”

Ultimately, I included Bird’s 9,500-volume library, and Virgil Abloh’s widow loaned me his yellow diamond-studded necklace. Those were moments when limitations built new friendships and more nuanced opportunities, and I feel like having been a planner’s what made me willing to pick up the phone and say, “Hey, would you be willing to collaborate with me?” — interview by J.C.

Remember That You’re Never Truly Equipped to Start Anything

As actors, we feel like we have to be ready, but I’d say you’re never ready. You’re not prepared for something you’ve never done before, so let go of that. This past year I did some symphony gigs for the first time, and it was incredible. It was better than being ready, because I just had to be new. — Ali Stroker, 36, actress and singer

Myha’la in season one of “Industry,” 2020.

Amanda Searle/HBO

Embrace Fear — but Come Prepared

I have the curse of perfectionism, and there’ve been so many projects where I’ve said, “I’m not right for that, so I’m not going to audition.” But that’s kind of lazy, so I’ve rewired my thinking: If something’s targeting some insecurity in me, why not take the opportunity to work on that thing? I used to avoid anything with an accent but now, if I got the call for “Bridgerton,” I’d feel confident enough to go for it. Definitely do your homework, though. With almost every trading scene in “Industry,” I’ve thought, “Nope, I’m not going to be able to get the words out.” I don’t sleep the night before, and I’m wrecked the next morning. Then everything pours out because I’ve come in prepared. Filming the first season of “Industry” in 2019 was the first time I’d been on a job longer than five days, the first time I’d worked out of the country, the first everything, and I was so nervous. Go toward things that scare you. — Myha’la, 28, actor  

Make Yourself Start

Deciding what’s a good idea is an ongoing battle. But you can only think about something for so long before you just have to try it. Someone once told me that when he makes a painting he likes, he’ll make another one with the same idea to see if it holds up and then another, which I thought was pretty good advice. Sometimes I force myself to go to my studio and start painting [Gordon initially set out to be a visual artist and started focusing more on her art practice about 25 years ago], even if I don’t have an idea. I like conceptual thinking, but I also like the physicality of painting. Usually that leads me to something and, even if it doesn’t — what am I going to do, sit around and watch movies all day? — Kim Gordon, 70, musician and visual artist

Put Yourself in Your Body — and Your Past

Sometimes painting can feel like this dream I have where I’m in the back of a moving car and I’m reaching over to the front seat to try to get control. That’s a nervous system in panic. There’s a grounding exercise I like to do where I jump and really feel my feet smack the floor — trying to get yourself back into your body’s part of the trick. And then I go, “Well, who’s dreaming?” If you can get there, you’re lucid in the dream, and that’s a good place to be. Still, feelings will come up that you don’t want. When I was working on this satyr painting, suddenly the satyr was my old friend Chris, who betrayed me when I was 18 to a group of guys who beat me up. I thought, “Why am I painting Chris? I don’t want to paint Chris.” I was in flow for a while but, when I hit this painting, I experienced self-doubt and thought, “People are going to think these paintings are awful.” Then I went on Instagram and liked one of his pictures. It felt like a weird, brave task. And he wrote to me and asked if he could call me, 26 years after ghosting me, and he apologized for 20 minutes. I cried and I think he probably cried, and I felt it all melt away. And then I went back to the painting. — TM Davy, 43, artist

Kim Gordon in 1990.

Laura Levine/Corbis via Getty Images

Psych Yourself Out

If things are too hard, something’s wrong, but you also have to embrace the awkward feelings. See if you can fool yourself — I used to get self-conscious about drawing when I was a teenager in an art class with a model, and the teacher said, “Don’t think of it as drawing. Think of it as designing the page.” That really loosened things up for me. It’s amazing what you can do if you pretend. — Kim Gordon

When people say they’re self-taught, it means they asked somebody else how they did it. When I began in folk music, I went to the clubs and I begged and borrowed and asked. [More recently, having taken up painting acrylics a little over a decade ago,] I was painting [Anthony] Fauci and couldn’t figure out how to do his glasses. I called an artist friend and she had all these tricks — “Don’t try to copy the photograph,” she told me, “just use dabs of paint here and there to give the impression of glass.” It didn’t take more than 45 minutes to learn how to put glasses on Fauci. Without her, I would’ve struggled for weeks trying to get it right. — Joan Baez, 83, singer-songwriter, activist, painter and author

Don’t Sweat the End — and Work on More Than One Thing at Once

Remember that the maker almost never knows exactly what they’re making in advance. The great works often appear when we’re aiming toward something completely different. Start as soon as you see a way in. I [also] find it helpful to work on multiple things at the same time. Not in the same moment but during the same general time period. The beauty is that different projects are at different stages, so you can avoid getting burned out on any one [thing]. We can step away, work on something else and come back with new eyes, as if we’re seeing it for the first time. Tunnel vision’s easy to fall into when working on a single project for a long period. We can end up getting lost in details nobody else will ever notice, while losing touch with the grand gesture of the work. — Rick Rubin, 61, music producer and author of “The Creative Act: A Way of Being”

Murray Hill in 1996.

Catherine McGann/Getty Images

Treat Procrastination as Productivity

There were certain things I couldn’t do during the [SAG-AFTRA] strike, but I did get a book deal. It’s called “Showbiz! My Unexpected Life as a Middle-Aged Man,” and I’ve got to get that done — by June 1st! I’m used to being onstage. When I’m sitting at my desk in my studio apartment, I procrastinate quite a bit, and I’m always asking myself, “Is this part of the creative process for me, or am I just making my life harder?” But I also procrastinate in productive ways. I go for a walk — in rehab, they taught us, “Move a muscle, change a thought.” Then I come back and put on jazz music. Doing that removes the blocks, probably because jazz is so much about improvisation and I’m at my core an improviser. Another thing I’ll do to light the match is turn to others’ work. I’ll watch Dean Martin videos or a documentary or old game shows. For this memoir, I’ve been reading memoirs by other people — Gary Gulman, Viola Davis, Maria Bamford, Leslie Jones, Aparna Nancherla — and not only does that awaken my creative senses, it triggers memories. — Murray Hill, 52, comedian, actor and writer

Be Comfortable With Discomfort

There was a time when [my] body was always ready, and when I had so many axes to grind and windmills to chase [that] something would come out. Now I can’t just depend on my body being there — that I’m going to bust a move and seduce — so I have to be a little more strategic: “What’s the idea? Does it serve anyone other than you?” I’m trying to reaffirm for myself that what I have left in me to say is worth saying. Doubt is always with us, and it burns like fire. But if I refuse to give up the mantle of being a creative artist, I’ve got to do something. [You might say] “Well, why don’t you just love a child? Why don’t you go work at a soup kitchen down the street?” Because I’m a self-involved son of a bitch. Procrastination says, “I don’t dare,” but can you live with yourself if you don’t? So how do you start? Terror. Guilt. Fear. All negatives to this generation of young people who don’t ever want to be uncomfortable, but the generation that formed me and my own generation had that feeling that you’re being pushed against and you’ve got to push back, because you’re not like them. As Martha Graham said to Agnes de Mille, “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.” I’ve got to believe that about myself, and the evidence is what I dare to do. — Bill T. Jones, 72, choreographer, director and dancer

If Your Work Goes Up in Flames, Don’t Fetishize the Ashes

One thing that eases the prospect of getting started is remembering that not everything you make needs to be for consumption or even to count as art. I recently spent nine months quietly making these works — mineral paint on cement slabs — and ended up throwing them all away because I decided they were too conventional. You’re not married to your old self, either. In 2013, there was an electrical fire at the studio I’d just moved into, and the building burned to the ground. I lost cartons of negatives and proof sheets that were over six feet tall, as well as photographs — stuff I’d made five, seven, 10, 15 years prior. Of course, it was traumatic and terrifying, but it was also freeing. Eventually I realized it was an opportunity for me to draw a line and stop making a certain kind of work. As artists, we think, “I got known for this type of thing,” or, “This is what everybody seems to like of mine.” A part of me felt, “I have to rebuild this person,” and then I thought, “Well, I don’t,” and I started something else. It was actually one of the most fruitful periods of my creative life. — Anthony Pearson, 55, painter, sculptor and photographer

Joan Baez in 1974.

David Redfern/Redferns via Getty Images

Practice Some Denial

When I was working on “Diamonds & Rust” (1975), I was at a low point of my career and I made a decision that I was going to concentrate on music and quit globe-trotting for different issues. I realized that the music needed my time and attention if it was going to be any good. Learning to live with the state of the world’s a daily practice. Everything we do, we do against the backdrop of global warming and fascism. I never dreamed I’d live in a world this chaotic and discouraging, and I’m overwhelmed but I’m also a great believer in denial — I think that’s where you have to be in order to create, or have fun or dance — providing that we set aside a certain amount of time to come out of denial and actually do something to help. — Joan Baez

Reject Fear. And Put Your Ego to Bed.

Last year, I went through what medical professionals would call a flop era. I’d had three years of the kind of lovely, psychotic busyness that has you hopping from job to job, just following green lights, but then everything went poof — the show I was working on got canceled; the financing for the film adaptation of my novel fell through. I’d been working on such personal things regarding sex and disability and, when those things ended or weren’t [well] received, I began to doubt myself. But then, you’re combating panic, and I started thinking really awful thoughts like, “Do I need to write a pilot where there’s a dead body?” Fear is the most poisonous thing to creativity. You can’t force it, and you have to listen to the work — it’ll tell you what it needs to be. Look at me getting all woo-woo, but it’s true. When you make a living off of writing, not every single project’s going to be from the depths of your soul, but I think there should always be some level of enjoyment. Starting over is really humbling, by the way. Knowing when to stop and when to start over requires giving your ego an Ambien. Real failure is letting your ego drive the bus of your life right off the cliff. — Ryan O’Connell, 37, writer and actor

Alice McDermott, 70, writer

There are three kinds of novels I’ve never taken to heart: science fiction, murder mysteries and novels about novelists. So I’ve decided to try my hand at each. If I fail, they’re probably not books I’d want to read anyway.

Thurston Moore, 65, musician and author

I’m putting the final touches on a new album, “Flow Critical Lucidity.” But after my memoir, “Sonic Life” (2023), came out, I realized my next mission was a novella, the working title of which is “Boomerang and Parsnip.” It concerns two madly in love youths in the wilds of Lower Manhattan circa 1981, and it’s wholly irreal, bordering on fantasy.

Courtesy of Samuel Delany

Samuel R. Delany, 82, writer

I’m writing a guidebook for a set of tarot cards I designed with the artist Lissanne Lake.

Susan Cianciolo, 54, visual artist

I’m preparing a solo exhibition that will open at Bridget Donahue gallery next month, so I’m making new works and curating older ones. It’ll definitely feature a book of my watercolor tree paintings, “Tell Me When You Hear My Heart Stop.”

Jenny Offill, 55, writer

I’m planning to start a band called Spacecrone. (I’ve stolen the name from a book of Ursula K. Le Guin essays.) It’ll be all female and 55-plus. Our faces will be made up like Ziggy Stardust, but we’ll wear sensible clothes and shoes. What’s kept me from starting it is that I can’t sing or play any instruments.

Alex Eagle, 40, creative director

We’re finessing our bag collection, which we’re trying to make as luxurious, but also as practical, as possible. And I’m planning to write a cookbook with my son Jack.

Jim Bennett/Wire Image, via Getty Images

Earl Sweatshirt, 30, rapper and producer

Making more music — it’s the one thing I always find myself coming back to, though every time I do, I have to overcome intense feelings of self-doubt. I also want to try stand-up, but I’m scared because there’s no music to hide behind. I don’t want dogs-playing-poker laughs, either. You know the [paintings] of dogs playing cards? Like, “Oh, it’s a rapper doing stand-up.”

Alex Da Corte, 43, visual artist

I’ve been writing an opera for some years now based on Marisol Escobar’s [assemblage] “The Party” (1965-66). It’s set at a time when the sun only shines for one day a year, and the players at the party are all wondering how to move forward while holding on to their pasts.

Danny Kaplan, 40, designer

While clay has been my faithful medium for years, I’ve lately been fueled to broaden the scope of my craft by embracing — and learning how to push the boundaries of — new materials like wood, metal and glass.

Kengo Kuma, 69, architect

Getting out of [Tokyo]. I’m doing my best to reduce the burden on big cities — I think humankind has reached a limit when it comes to congestion — and I’ve recently opened five satellite offices in places like Hokkaido and Okinawa.

Raul Lopez, 39, fashion designer, Luar

The thing I’m always meaning to restart is my video blog “Rags to Riches: Dining With the Fabbest Bitches,” an exploration of how food, fashion, music and art all connect.

Charles Burnett, 80, filmmaker

Right now I’m involved in the development of two films. The first, “Edwin’s Wedding,” is the story of two cousins, separated by the Namibian armed struggle with South Africa, who are both planning their weddings. The second, “Dark City,” also set in Namibia, is more of an emotional roller coaster about betrayal and vengeance told in the Hitchcockian mold.

Ludovic Nkoth, 29, visual artist

I’m looking to experiment outside the confines of the canvas — sculpture and video have always been lingering in the back of my head.

Elena Velez, 29, fashion designer

I want to start a series of salons to bring together great minds across multiple disciplines, while feeding the subculture that my work draws from.

Daniel Clowes, 63, cartoonist

I’ve always had the desire to do fakes of artworks I admire — to figure out how they were done, and so I could have otherwise unaffordable artwork hanging in my living room. Painting [with oil] is as frustrating and exhilarating as I remember it being when I was in art school 43 years ago, and my paintings look alarmingly not unlike the ones I did at 19.

Piero Lissoni, 67, architect and designer

I’ve started the design for several new buildings that will become government offices in Budapest. I’d like to start designing chairs, lights, skyscrapers, spacecraft. In truth, I’d like to start doing everything again.

Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610), Art Gallery of Ontario, Toronto

Robert Longo, 71, visual artist

I’ve been struggling to figure out how best to make sense of the overwhelming images in the news, so I’m turning to the past. I’m working on two monumental charcoal drawings based on paintings [about war]: Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610) and Francisco de Goya’s “The Third of May 1808” (1814).

Gabriel Hendifar, 42, designer

I’m moving into a new apartment by myself after a series of long relationships. I’m excited to challenge my own ideas about how I want to live and to see how that affects the work of my design studio [Apparatus] as we begin our next collection.

Donna Huanca, 43, visual artist

I’m working on two solo exhibitions. One will be in a late 15th-century palazzo with underground vaulted rooms in Florence, Italy; the other in a modern white cube in Riga, Latvia. For years, I’ve tailored works to the architecture of their exhibition spaces, so I’m enjoying working within this duality.

Satoshi Kuwata, 40, fashion designer, Setchu

We’re about to start offering shoes. I’ve thought of the design. Now I just have to go to the factory and see them in real life.

Aaron Aujla, 38, and Ben Bloomstein, 36, designers, Green River Project

We’re starting a new collection of furniture based on offcuts from the studio that are finished with a modified piano lacquer. Hopefully, a suite of these pieces will be ready for exhibition by fall. We also have a commission we’re excited to start — a large sculptural fireplace made from three unique logs of rare wood.

Adrianne Lenker, 32, musician, Big Thief

I want to start learning how to paint. The few times I’ve tried it, I loved it but also felt daunted by all I needed to learn. I often think of my songs in terms of paintings. My grandmother Diane Lee’s an amazing watercolorist. Recently she gave me a lesson all about gray.

Melissa Cody’s “Power Up” (2023), courtesy of the artist and Garth Greenan Gallery, New York

Melissa Cody, 41, textile artist

I’m starting to create wall tapestries that incorporate my pre-existing designs, which were handwoven on a traditional Navajo/Diné loom, but these new works are highly detailed sampler compositions made on a digital Jacquard loom.

Josh Kline, 44, multidisciplinary artist

I’m working toward shooting my first feature film — a movie, not a project for the art world.

Sally Breer, 36, interior decorator

My husband and I have started building some structures on a property we own in upstate New York — he has a construction company in Los Angeles. We’re using locally sourced wood and are 80 percent done with a studio-guesthouse, a simple 14-by-18-foot box set on foundation screws, tucked into a pine forest. This is the first time we’re really working together as a design-build team. He’s started referring to it as our “art project.”

Eddie Martinez, 47, visual artist

I’m restarting a group of large-scale paintings for an exhibition at the Parrish Art Museum [in Water Mill, N.Y.] this summer. They’re each 12 feet tall and based on a drawing of a butterfly. The series is called “Bufly” since that’s how my son, Arthur, mispronounced “butterfly” when he was younger. I’d put the paintings aside while I finished my work for the Venice Biennale. Now I’m locked in the studio, painting like a nut!

Karin Dreijer, a.k.a. Fever Ray, 49, singer-songwriter

I’ve been thinking about learning to play the drums. They’ve always felt like a bit of a mystery to me.

Eric N. Mack, 36, visual artist

I’m starting to recharge in order to begin my next body of work. I journal, read, explore the Criterion Channel and get deep-tissue massages. I keep wishing I’d organize the fabrics in my studio.

Jenni Kayne, 41, fashion designer

We’re starting the next iteration of the Jenni Kayne Ranch [the brand’s former property in Santa Ynez, Calif., where she’d invite guests for yoga, dining and spa experiences], only this time we’re heading to upstate New York. We’re calling it the Jenni Kayne Farmhouse, and it’ll include a self-care sanctuary where slow living is a genuine ritual.

Christine Sun Kim, 43, multidisciplinary artist

I have a bit of an adverse reaction to people doing American Sign Language interpretations of popular songs on social media — they’re usually based entirely on the lyrics in English, when rhyming works differently in ASL. So I’ve been wanting to make a fully native ASL “music” video. One day.

Ellia Park, 40, restaurateur

I’ve started collaborating with the in-house designer at Atomix, one of the restaurants I run with my husband, Junghyun Park, on custom welcome cards for the guests that feature bespoke artwork.

Awol Erizku, 35, visual artist

Awol Erizku’s “Pharrell, SSENSE” (2021), from "Awol Erizku: Mystic Parallax" (Aperture, 2023), courtesy of the artist

I’m focused on my exhibition “Mystic Parallax,” opening in May in Bentonville, Ark. [which will include concerts and portraits of such people as Solange and Pharrell Williams]. What I never seem to get around to is archiving all of my negatives in the studio.

Jeremiah Brent, 39, interior designer

As I navigate the [effect of the] ever-so-saturated interior design algorithm, I’m challenging our team to expand the language we speak, diversifying design references by looking to the unexpected: playwrights, films, historians and science.

Vincent Van Duysen, 61, architect

I’m focusing on the 90th anniversary of [the Italian furniture company] Molteni & C. I’m also excited about our recent addition to the family — a black-and-tan dachshund called Vesta after the virgin goddess of the hearth and home.

Kwame Onwuachi, 34, chef

I’m working on launching a sparkling-water line — the proceeds of which will help bring clean water wells to African countries — and starting to write my third cookbook. I start everything I think of.

Larissa FastHorse, 52, playwright and choreographer

I’m adapting a beloved American musical — I can’t say which — into a TV series. Which is scary because, even though I just adapted “Peter Pan” for the stage, the TV process is the opposite: Instead of cutting down a three-hour musical, I have to add hours and hours of content. So it feels like beginning over and over again.

Peter Halley, 70, visual artist

I’ve started to paint watercolors. Now that I’ve reached 70, I thought it was about time. The images are arranged in a grid like on a comic book page, but the narrative’s asynchronous. They’re based on images of one of my cells exploding, an obsession I’ve had going all the way back to the ’80s.

Darren Bader, 46, conceptual artist

I want to start an art gallery called Post-Artist that regularly shows art but refuses to name who made it. No social media presence. I also want to do what Harmony Korine is doing, except with none of that content.

Jeff Tweedy, 56, musician, Wilco

I’m about to record an album of new music with my solo band, which isn’t really solo at all. I’m bringing my sons and the close friends and quasi family who’ve been playing with me live for the past 10 years or so into the studio. I’ve written songs that feel like they can be a vessel for all of our voices together: a miniature choir. There’s really no experience that compares to singing with other people. I think it tells us something about how to be in the world.

Charles Yu, 48, writer

I’m about to start promoting the “Interior Chinatown” series [based on Yu’s 2020 novel]. I’d like to get into music and service. My son’s a drummer, and he’s awakened some latent impulse in me. And my daughter and wife have been volunteering. I’m not exactly sure what’s been keeping me from either. I could say work, but I suspect the actual answer is nothing.

Elyanna, 22, singer-songwriter

I’d love to improve my Spanish. I visit my family in Chile at least once a year and, every time I fly back to L.A., I realize that I need to keep practicing.

Boots Riley, 53, filmmaker and musician

I’m getting ready to start filming a feature I wrote about a group of professional female shoplifters who find a device called a situational accelerator that heightens the conflict of anything they shoot it at. I also have a sci-fi adventure: a janky, lo-fi epic space funk opera. My dream is to use the same crew and shoot the two movies back to back in Oakland, Calif. [where I live]. That’s one thing about being 53 — I want to be able to spend more time with my kids.

Damien Maloney/The New York Times

Sable Elyse Smith, 37, visual artist

I’ve recently embarked on an operatic project. Yikes! MoMA invited me to make a sound piece that’ll open in July, and it’ll be a kind of prelude to a larger version. It’s titled “If You Unfolded Us.” It’s a queer love story and a coming-of-age story about two Black women.

Satoshi Kondo, 39, fashion designer, Issey Miyake

My latest experiment with washi , or traditional Japanese paper, is blending fibers extracted from the remaining fabrics of past clothing collections with the pulp mixture from which washi is made. It’s a way of playing with color and texture.

Laila Gohar, 35, chef and artist

Almost all of my work has used food as a medium and has therefore been ephemeral. Making work that isn’t — namely, sculptures — is an idea I’ve been toying with for a while, but I haven’t been able to jump into it yet. I once read something an artist said about how she thought male artists are more concerned with legacy than female artists, and that female artists are more comfortable creating ephemeral work. This rang true for me, but now I feel slightly more confident about making things that might outlive me.

Patricia Urquiola, 62, architect and designer

I was nominated [last year] as a member of the Royal Academy of Fine Arts of San Fernando in Madrid, so now I’m writing the acceptance thesis, or discurso de ingreso . It’s an occasion to reflect on ideas — for example, I reread the philosopher Bruno Latour, who argues that design “is never a process that begins from scratch: To design is always to redesign.”

Luke Meier, 48, and Lucie Meier, 42, fashion designers, Jil Sander

We’ve started making some objects — glass and ceramics. We aren’t at all experienced in these fields, so it’s invigorating to play again.

Kevin Baker/Courtesy of Number 9 Films.

Marianne Elliott, 57, director

I’ve always wanted to do a film, but it requires so much time and theater is a hungry beast, so it’s eluded me until now: “The Salt Path,” starring Gillian Anderson, is based on a true story about a remarkable English couple [who embark on a 630-mile hike].

Samuel D. Hunter, 42, playwright

Last year, I was approached by Joe Mantello and Laurie Metcalf, who wanted someone to write a play for Joe to direct and Laurie to star in. I’d never met either of them but, if I had to pick one actor on earth to write a role for, it would be Laurie. “Little Bear Ridge Road,” a dark comedy about an estranged aunt and nephew who are forcibly reunited after the passing of a troubled family member, will go into rehearsals in May.

Thebe Magugu, 30, fashion designer

When I was 16, I began writing a novel, taking place between the small South African towns of Kimberley and Kuruman, that I’ve contributed to every year since. It currently sits as a huge slab of a book — around 80,000 words — and I’ve been meaning to rewrite and polish the earlier chapters. I’ve given myself the next 10 years [to finish the project]. It’ll be a gift I give to myself when I turn 40.

Misha Kahn, 34, designer and sculptor

I have an idea for this toothpaste project called Zaaams that’s expanded, of its own volition, into an entire cinematic universe. Sometimes an idea can grow so big that it’s unmanageable and nearly unstartable. Sometimes I’ll really start working on it, but I get overwhelmed by the seismic rift in society it would cause and feel dizzy. Crest, if you’re reading this, call me.

Nell Irvin Painter, 81, visual artist and writer

I’m way too old to be a beginner. I’m 81 and have already written and published a million (OK, 10) books. But a very different kind of project’s been tugging at me: something like an autobiographical Photoshop document with layers from different phases of my life in the 1960s and ’70s — spent in France, Ghana, the American South. I’d have to be myself at different ages.

Courtesy of Nell Irvin Painter

Sharon Van Etten, 43, singer-songwriter

In 2020, I became familiar with the work of Susan Burton, the founder of A New Way of Life, which provides formerly incarcerated women with the care and community they need to get their lives back on track, and was so moved by her story I asked my record label if it was OK to use money from my music video budget to produce a minidocumentary on the organization, “Home to Me.” I still have a lot to learn about filmmaking, but I think it’s the beginning of something beautiful.

Piet Oudolf, 79, garden designer

I’m starting the planting design for Calder Gardens, a new center dedicated to the work of the artist Alexander Calder in Philadelphia. I’m working on it with Herzog & de Meuron architects, and it’ll include a four-season garden that will evolve with the months. Early in the year, it’s about ephemerals (bulbs). Spring is when woodland flowers are important. Summer will be the high point of the prairie-inspired areas, and in fall and winter there’ll be seed heads and skeletons. I think a good, harmonious garden is like a piece of living art.

Rafael de Cárdenas, 49, designer

As a consummate shopper, I’ve always thought the best way to bring my interests together would be with a store — a lab for testing things out and creating a connoisseurship in the process. I’m thinking Over Our Heads (the second iteration of Edna’s Edibles in [the 1979-88 sitcom] “The Facts of Life”) meets Think Big! (a now-closed shop in SoHo) meets [the London gallery] Anthony d’Offay meets [the defunct clothing store] Charivari meets [the old nightclub] Palladium.

Gaetano Pesce, 84, architect and designer

I’m working on a possible collaboration with a jewelry company from Italy. I can’t say the name yet, but the pieces stand to be very innovative. Also, another collaboration with the perfume company Amouage inspired by time I spent in Oman’s Wadi Dawkah and the beautiful frankincense trees there.

John Cale, 82, musician and composer

Ever since I played viola in the National Youth Orchestra of Wales, I’ve been hypnotized by the thought of the discipline needed to conduct. My attention soon wandered — from John Cage to rock music. Now, 60 years on, it’s finally time.

Nona Hendryx, 79, interdisciplinary artist and musician

I’m working on the Dream Machine Experience, a magical 3-D environment that’ll be filled with music, sound, images and gamelike features. It’ll premiere at Lincoln Center this June. [My idea was] to create an imaginative world inspired by Afro-Futurism that encourages a wide, multigenerational audience to share.

Faye Toogood, 47, designer and visual artist

I’d like to develop a jewelry collection, but I haven’t. Is it because no one’s asked — no phone call from Tiffany! — or because I’m struggling to understand how adornment fits into our current world?

Freddie Ross Jr., a.k.a. Big Freedia, 46, musician

I’m recording a kids’ album and publishing a picture book for early readers. Much of my art is about language and the unique colloquialisms that we have in bounce culture. Children respond to its snappy rhymes and phrases.

Danzy Senna, 53, writer

Every time I write a novel, I think, “This is the most masochistic experience I’ve ever had — I’m going to quit this racket.” But I feel incomplete without this depressive object to feel beholden to. I just finished editing one book [“Colored Television”] and have the sinking feeling I’m about to start another.

Jackie Sibblies Drury, 42, playwright

I’m starting, hopefully in earnest, to write a play in collaboration with the director Sarah Benson inspired by action movies. We were intrigued by the problem of trying to put chase scenes or action sequences onstage, where it’s difficult to build momentum or suspense because in theater we have less control over the viewer’s eye, among other things. But hopefully the play will be about what it means to see ourselves in these macho cis men who often get hurt pretending to almost die for our entertainment — or something like that?

Lindsey Adelman, 55, designer

I’m putting together a digital archive of my work and ephemera — about 30 years’ worth — revisiting everything from the sculpture I made as a student at RISD to the paper lights David Weeks and I sold for $25 to datebooks where I scribbled notes about things I wished would come true and then did. I hope it’ll encourage others to start something. I want them to understand, “Oh, this was the first step … this beautiful, finished thing was inspired by a piece of garbage dangling from a streetlamp.”

Elizabeth Diller, 69, architect, Diller Scofidio + Renfro

David Wall/Getty Images

Since 2012, when my studio was doing research for a contemporary staging of Benjamin Britten’s chamber opera of Henry James’s “The Turn of the Screw,” I’ve been meaning to start a book about ghosts. While ghosts are a well-trod literary device, their visual representation on stage and screen also has a rich history that can be told through the lens of an architect. Despite the fact that ghosts transcend the laws of physics, they’re stubbornly site-specific — they live in walls, closets, attics and other marginal domestic settings, and they rarely stray from home.

David Oyelowo, 48, actor

Something that three friends and I are in the process of building and developing is a streaming platform that we launched last year called Mansa. The idea — born out of growing frustration with making things that I love and then having to use some kind of distribution mechanism where the decision makers are almost always people who don’t share my demographic — is Black culture for a global audience. Essentially, we started a tech company that intersects with our love of story and our need to create [pipelines] for people of color and beyond to be seen.

Franklin Sirmans, 55, museum director, Pérez Art Museum Miami

There’s a recurring exhibition that I’ve worked on with [the curator] Trevor Schoonmaker since 2006 called “The Beautiful Game” that consists of art about soccer. We do it every four years because of the World Cup, and I’m starting to get into the 2026 iteration. I’ve also been trying to finish a book of poems since I graduated college more than 30 years ago. But it’s happening. It’s not like you don’t write a good sentence every now and then.

Jamie Nares, 70, multidisciplinary artist

I’ve always loved this line of poetry [from the Irish poet John Anster’s loose translation of Goethe’s “Faust”] that goes, “Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” One thing I’ve begun recently is a revisiting of my 1977 performance “Desirium Probe,” for which I hooked myself up to a TV that the audience couldn’t see, and relayed what was happening onscreen through re-enactment. Now I’m going to do it with YouTube videos chosen at random from the wealth of rubbish and interesting stuff on there. And as a video, because I’m not as agile as I once was.

Joseph Dirand, 50, architect and designer

My firm has just started developing, with a French company called Zephalto, a prototype of the interiors for a hot-air balloon that will take travelers to the stratosphere, and the carbon footprint of the journey will be equivalent to that of the production of a pair of blue jeans. The balloon is transparent, so it’ll be almost as if you’re going up in a bubble of air — riders will see the curve of the earth. We’re designing three private cabins: sexy, organic cocoons that reference the ’60s and the dream of space, but are otherwise pretty minimal. The landscape is the star of the show.

Amaarae, 29, singer-songwriter

I’m working on the deluxe version of my 2023 album, “Fountain Baby.” The approach for the original album was very maximalist — I organized these camps all over the world and had a bunch of people come through to work on the music. Afterward, I felt underwhelmed — not by the project but by how I felt at the end of it all. [So] I stripped back everything so it’s just me and my home setup, trying ideas. Before, I was really lofty, but now my feet are touching grass a little bit.

Jennifer Egan, 61, writer

I’m starting a novel set in late 19th-century New York City. As always with my fiction, I have little idea of what will happen, which lends an element of peril to every project! Time and place are my portal into story, and I’m interested in a time when urban America was crowded and full of buildings we occupy today, yet the landscape beyond seemed almost infinite.

Carla Sozzani, 76, gallerist and retailer

Just as my partner, Kris Ruhs, and I revamped the then-unknown Corso Como area of Milan, we’re now putting our energy into the construction of a new studio for him, as well as the expansion of the Fondazione Sozzani [cultural center], both of which are in Bovisa, another old industrial neighborhood. I wanted to be an architect when I was young, but my father said, “No!”

Stephanie Goto, 47, architect

If my clients allow me to peel one eye away from their commissions, I’d like to dive deeper into the renovation of my own property in Connecticut, which includes the circa 1770 former home of Marilyn Monroe and a tobacco-and-milk barn that will house my studio.

Amalia Ulman, 35, visual artist and filmmaker

I’m beginning to write the script for my third feature film — probably my favorite part of the process, when I just need to close my eyes and see the film in my head. It’s the closest to a holiday because it feels like daydreaming.

Wim Wenders, 78, filmmaker

Several years ago, I started a project about the Swiss architect Peter Zumthor, who, along with others, designed the new Los Angeles County Museum of Art that’s being built now. The working title of the film is “The Secret of Places,” and it’s done in 3-D. My dream is to make a comedy one day. [ Laughs .] Seriously. [ Laughs again .] I’m working on it.

Wendy Red Star’s “Beaver That Stretches” (2023), © Wendy Red Star, courtesy of the artist and Sargents Daughters

Wendy Red Star, 43, visual artist

I’ve started highlighting Crow and Plateau women’s art history by making painted studies of parfleches, these 19th-century rawhide suitcases embellished with geometric designs. I’m learning so much about these women just by their mark making, but have only come across a few that have the name of the person who made it, so I’m titling my works by pulling women’s and girls’ names from the census records for the Crow tribe between 1885 and 1940.

Nick Ozemba, 32, and Felicia Hung, 33, designers, In Common With

Next month, we’re opening Quarters, a concept store and gathering space in TriBeCa that will feature our first furniture collection.

Bobbi Jene Smith, 40, dancer, choreographer and actress

My husband, Or Schraiber, and I are creating a work composed of solos for each dancer of L.A. Dance Project, where we’ve been residents for the past year and a half. We’ve had the unique opportunity to connect deeply with some of the dancers, and this — a gratitude poem for each of them — will be our culminating project. They’ll each be a few minutes long and characterized by physicality set against silence.

Editor’s note: The architect and designer Gaetano Pesce, whose comments are included in this piece, died on April 4 at age 84.

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Stepping Into the World of Dance

As Harlem Stage’s E-Moves dance series turns 25, Bill T. Jones and other major choreographers discuss its impact on Black dance  in New York.

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