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Credit: August de Richelieu

Does homework still have value? A Johns Hopkins education expert weighs in

Joyce epstein, co-director of the center on school, family, and community partnerships, discusses why homework is essential, how to maximize its benefit to learners, and what the 'no-homework' approach gets wrong.

By Vicky Hallett

The necessity of homework has been a subject of debate since at least as far back as the 1890s, according to Joyce L. Epstein , co-director of the Center on School, Family, and Community Partnerships at Johns Hopkins University. "It's always been the case that parents, kids—and sometimes teachers, too—wonder if this is just busy work," Epstein says.

But after decades of researching how to improve schools, the professor in the Johns Hopkins School of Education remains certain that homework is essential—as long as the teachers have done their homework, too. The National Network of Partnership Schools , which she founded in 1995 to advise schools and districts on ways to improve comprehensive programs of family engagement, has developed hundreds of improved homework ideas through its Teachers Involve Parents in Schoolwork program. For an English class, a student might interview a parent on popular hairstyles from their youth and write about the differences between then and now. Or for science class, a family could identify forms of matter over the dinner table, labeling foods as liquids or solids. These innovative and interactive assignments not only reinforce concepts from the classroom but also foster creativity, spark discussions, and boost student motivation.

"We're not trying to eliminate homework procedures, but expand and enrich them," says Epstein, who is packing this research into a forthcoming book on the purposes and designs of homework. In the meantime, the Hub couldn't wait to ask her some questions:

What kind of homework training do teachers typically get?

Future teachers and administrators really have little formal training on how to design homework before they assign it. This means that most just repeat what their teachers did, or they follow textbook suggestions at the end of units. For example, future teachers are well prepared to teach reading and literacy skills at each grade level, and they continue to learn to improve their teaching of reading in ongoing in-service education. By contrast, most receive little or no training on the purposes and designs of homework in reading or other subjects. It is really important for future teachers to receive systematic training to understand that they have the power, opportunity, and obligation to design homework with a purpose.

Why do students need more interactive homework?

If homework assignments are always the same—10 math problems, six sentences with spelling words—homework can get boring and some kids just stop doing their assignments, especially in the middle and high school years. When we've asked teachers what's the best homework you've ever had or designed, invariably we hear examples of talking with a parent or grandparent or peer to share ideas. To be clear, parents should never be asked to "teach" seventh grade science or any other subject. Rather, teachers set up the homework assignments so that the student is in charge. It's always the student's homework. But a good activity can engage parents in a fun, collaborative way. Our data show that with "good" assignments, more kids finish their work, more kids interact with a family partner, and more parents say, "I learned what's happening in the curriculum." It all works around what the youngsters are learning.

Is family engagement really that important?

At Hopkins, I am part of the Center for Social Organization of Schools , a research center that studies how to improve many aspects of education to help all students do their best in school. One thing my colleagues and I realized was that we needed to look deeply into family and community engagement. There were so few references to this topic when we started that we had to build the field of study. When children go to school, their families "attend" with them whether a teacher can "see" the parents or not. So, family engagement is ever-present in the life of a school.

My daughter's elementary school doesn't assign homework until third grade. What's your take on "no homework" policies?

There are some parents, writers, and commentators who have argued against homework, especially for very young children. They suggest that children should have time to play after school. This, of course is true, but many kindergarten kids are excited to have homework like their older siblings. If they give homework, most teachers of young children make assignments very short—often following an informal rule of 10 minutes per grade level. "No homework" does not guarantee that all students will spend their free time in productive and imaginative play.

Some researchers and critics have consistently misinterpreted research findings. They have argued that homework should be assigned only at the high school level where data point to a strong connection of doing assignments with higher student achievement . However, as we discussed, some students stop doing homework. This leads, statistically, to results showing that doing homework or spending more minutes on homework is linked to higher student achievement. If slow or struggling students are not doing their assignments, they contribute to—or cause—this "result."

Teachers need to design homework that even struggling students want to do because it is interesting. Just about all students at any age level react positively to good assignments and will tell you so.

Did COVID change how schools and parents view homework?

Within 24 hours of the day school doors closed in March 2020, just about every school and district in the country figured out that teachers had to talk to and work with students' parents. This was not the same as homeschooling—teachers were still working hard to provide daily lessons. But if a child was learning at home in the living room, parents were more aware of what they were doing in school. One of the silver linings of COVID was that teachers reported that they gained a better understanding of their students' families. We collected wonderfully creative examples of activities from members of the National Network of Partnership Schools. I'm thinking of one art activity where every child talked with a parent about something that made their family unique. Then they drew their finding on a snowflake and returned it to share in class. In math, students talked with a parent about something the family liked so much that they could represent it 100 times. Conversations about schoolwork at home was the point.

How did you create so many homework activities via the Teachers Involve Parents in Schoolwork program?

We had several projects with educators to help them design interactive assignments, not just "do the next three examples on page 38." Teachers worked in teams to create TIPS activities, and then we turned their work into a standard TIPS format in math, reading/language arts, and science for grades K-8. Any teacher can use or adapt our prototypes to match their curricula.

Overall, we know that if future teachers and practicing educators were prepared to design homework assignments to meet specific purposes—including but not limited to interactive activities—more students would benefit from the important experience of doing their homework. And more parents would, indeed, be partners in education.

Posted in Voices+Opinion

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Is Homework Valuable or Not? Try Looking at Quality Instead

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Is there an end in sight to the “homework wars?”

Homework is one those never-ending debates in K-12 circles that re-emerges every few years, bringing with it a new collection of headlines. Usually they bemoan how much homework students have, or highlight districts and even states that have sought to cap or eliminate homework .

Now, a new analysis from the Center for American Progress suggests a more fruitful way of thinking about this problem. Maybe, it suggests, what we should be doing is looking at what students are routinely being asked to do in take-home assignments, how well that homework supports their learning goals (or doesn’t), and make changes from there.

The analysis of nearly 200 pieces of homework concludes that much of what students are asked to do aligns to the Common Core State Standards—a testament to how pervasive the standards are in the U.S. education system, even though many states have tweaked, renamed, or replaced them. However, most of the homework embodied basic, procedural components of the standards, rather than the more difficult skills—such as analyzing or extending their knowledge to new problems.

“We were surprised by the degree of alignment. And we were also surprised by the degree that the homework was rote, and how much some of this stuff felt like Sudoku,” said Ulrich Boser, a senior fellow at CAP. “It made the homework debate make a lot more sense about why parents are frustrated.”

It is also similar to the findings of groups like the Education Trust, which have found that classwork tends to be aligned to state standards, but not all that rigorous.

Collecting Homework Samples

The CAP analysis appears to be one of the first studies to look at homework rigor using a national survey lens. Many studies of homework are based on one school or one district’s assignments, which obviously limits their applicability. Attempts to synthesize all this research have led to some hard-to-parse conclusions. One of the most cited studies concludes there’s some connection for grades 6-12 between homework and test scores, but less so for elementary students, and less of an impact on actual grades.

Another problem is that students’ experiences with homework seem to vary so dramatically: A Brookings Institution report based on survey data from the National Assessment of Educational Progress concluded that, while on average students aren’t overburdened by homework, a subset of students do appear to get hours upon hours.

The CAP analysis, instead, was based on getting a sample of parents from across the country to send in examples of their children’s homework. The researchers used MTurk, a crowdsourcing service offered by Amazon.com to recruit parents. Of the 372 parents who responded, the researchers got a pile of 187 useable assignments. Next, John Smithson, an emeritus researcher at the University of Wisconsin-Madison, had teams grade them on a taxonomy looking at both the content and the “cognitive demand,” or difficulty, of the work. The index fell on a 1 to 10 scale, with a score 4 to 6 range considered as “good” alignment.

The results? On average, math assignments fell within this range, while the ELA ones were slightly weaker, in the 3 to 5 range.

But the real eye-opening graphic is this one, which shows that by far the assignments were mostly low-level.

This makes some logical sense when you think about it. Just as with teaching and testing, it is much easier to write homework assignments prioritizing basic arithmetic drills and fill-in-the-blank vocabulary words than ones that get students to “prove” or “generalize” some tenet. (I suspect prepackaged curricula, too, probably lean more toward rote stuff than cognitively demanding exercises.)

Here’s another explanation: Many teachers believe homework should be for practicing known content, not learning something new. This is partially to help close the “homework gap” that surfaces because some students can access parent help or help via technology, while other students can’t. It’s possible that teachers are purposefully giving lower-level work to their students to take home for this reason.

To be sure, Boser said, it’s not that all lower-level work is intrinsically bad: Memorization does have a place in learning. But assignments like color-in-the-blank and word searches are probably just a waste of students’ time. “Homework assignments,” the study says, “should be thought-provoking.”

Study Limitations

The study does come with some significant limitations, so you must use caution in discussing its results. The surveyed population differs from the population at large, overrepresenting mothers over fathers and parents of K-5 students, and underrepresenting black parents. Also, the majority of the assignments the parents sent in came from the elementary grades.

The report makes suggestions on how districts can strategically improve the quality of their homework, rather than deciding to chuck it out altogether.

One is to is to audit homework assignments to make sure they’re actually useful at building some of the more difficult skills. Another is to extend the “curriculum revolution” of the last decade, which has focused more attention on the quality and alignment of textbooks and materials, to homework. A third is to use appropriate technology so students can access out-of-school supports for challenging homework.

A version of this news article first appeared in the Curriculum Matters blog.

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Is homework an unnecessary burden?

Ib world magazine investigates if homework still has a place in modern-day education, in a new series of thought leadership articles.

Homework is outdated , invades valuable family time and serves no purpose – or that’s what many schools in Europe and the US now believe. As a consequence they have publically ditched the after-school tradition in favour of letting “kids be kids”. With no homework to mark, teachers are using the extra time to plan more creative lessons.

Some critics have even gone so far as to call homework a “sin against childhood” . According to author and lecturer Alfie Kohn, the positive effects of homework are “largely mythical.” He says homework in most schools is set just for “the sake of it.”

Kohn’s research found there is “absolutely no evidence of any academic benefit from assigning homework in elementary school [5-10 years old] or middle school [11-13 years old].”

At the high school level [14-18 years old], the correlation [between homework and academic success] is weak and tends to disappear when more sophisticated statistical measures are applied. Meanwhile, no study has ever substantiated the belief that homework builds character or teaches good study habits.”

Despite the evidence, homework is still a global practice. In China, 15-year-old students spend, on average, 13.8 hours per week on homework. At the other end of the scale, students in Finland spend 2.8 hours a week. As Finland is regularly used as a positive example for its outstanding educational standards and practices, this highlights a failed link between time spent on homework and academic achievement.

Mental health epidemic

  The homework debate is nothing new, and what constitutes excessive amounts of homework is dependent on multiple factors. However, with the increase in mental health issues amongst young people, scrapping homework could be a step in the right direction towards combating the epidemic.

For PYP-aged students, even 30 minutes of homework a night, if combined with other sources of academic stress, can have a  negative impact on mental health. Researchers in China have linked homework of two or more hours per night with  sleep disruption .

A top school in the UK is in the midst of a five-year review of homework. It is considering replacing it with weekly meditation classes, longer walks between lessons, and flipped learning – an approach where students read up on material before classes.

In France, it’s argued that homework causes inequality. In 2012, French President François Hollande said that homework favours the wealthy. Such students are more likely to have a good working environment at home, including parents with the time and energy to help children with their work, he said.

British author and former Children’s Laureate Michael Rosen agrees. In a letter to the UK Education Secretary Justine Greening – published in The Guardian newspaper in February 2017 – he explains his belief that homework widens the gap between rich and poor, and gives an advantage “to children who have parents with a lot of education on their CVs and/or a knowledge of how to teach.”

“Hard evidence” for homework

However, while the case for abolishing homework is gathering pace, there is “hard evidence” that it really does improve how well students achieve, says Professor Susan Hallam from UCL Institute of Education, UK.

Spending more than two hours a day on homework is linked to achieving better results in English, mathematics and science, according to a study published by the Department for Education, UK.

Homework also improves memory, encourages independence and develops positive study skills – including how to deal with pressure, various studies have found.

Professor Harris Cooper highlights the positive influence of homework on overall development. He says: “Beyond achievement, proponents of homework argue it can have many other beneficial effects, including the development of good study habits and a recognition that learning can occur at home, as well as at school.”

Homework can also foster independent learning and responsible character traits – essential skills later in life when students change jobs or learn new skills for advancement at work.”

Homework also acts as a guide for parents. It helps them understand their child’s academic strengths and weaknesses, says Cooper. “Two parents once told me they refused to believe their child had a learning disability until homework revealed it to them.”

Homework does have invaluable benefits, but the amount of time spent completing it is the clear concern. Assigning too much homework can result in poor performance.

Schools are having to tread the fine line of challenging students academically, but not to the point of overwhelming them.

Cooper acknowledges that some students are bringing home too much work. Setting homework policies can help, he says.

Policies should proscribe amounts of homework that are consistent with the empirical evidence (and most do) but also give individual schools and teachers some flexibility to take into account the unique needs and circumstances of their students.”

For example, his ‘10-minute Rule’ advises homework time should be equal to the child’s grade level multiplied by 10, ie a second grader (a 7-year-old) should have 20 minutes of homework per day (two multiplied by 10).

Above all, homework should be authentic, meaningful, and engaging, according to Stanford professors Linda Darling-Hammond and Olivia Ifill-Lynch in the book If They’d Only Do Their Work !

  “Assign work that is worthy of effort,” they say. “Before teachers give out a homework assignment, they should ask themselves, ‘Does it make sense?’ ‘Is it necessary?’ ‘Is it useful?’ ‘Is it authentic and engaging?’ Students are most likely to do homework when it is part of a meaningful curriculum unit and will actually be used in class the next day.”

Look out for the second part of our series on homework where  IB World speaks to the IB teachers who have opted out of giving students homework, with surprising results

• Up until fifth grade (age 10), homework should be very limited.
• Middle-school students should not spend more than 90 minutes a day on homework
• Two hours should be the limit in high school.
• Beyond these time limits, research shows that homework has no impact on student performance, says Cooper.

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Should Kids Get Homework?

Homework gives elementary students a way to practice concepts, but too much can be harmful, experts say.

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Effective homework reinforces math, reading, writing or spelling skills, but in a way that's meaningful.

How much homework students should get has long been a source of debate among parents and educators. In recent years, some districts have even implemented no-homework policies, as students juggle sports, music and other activities after school.

Parents of elementary school students, in particular, have argued that after-school hours should be spent with family or playing outside rather than completing assignments. And there is little research to show that homework improves academic achievement for elementary students.

But some experts say there's value in homework, even for younger students. When done well, it can help students practice core concepts and develop study habits and time management skills. The key to effective homework, they say, is keeping assignments related to classroom learning, and tailoring the amount by age: Many experts suggest no homework for kindergartners, and little to none in first and second grade.

Value of Homework

Homework provides a chance to solidify what is being taught in the classroom that day, week or unit. Practice matters, says Janine Bempechat, clinical professor at Boston University 's Wheelock College of Education & Human Development.

"There really is no other domain of human ability where anybody would say you don't need to practice," she adds. "We have children practicing piano and we have children going to sports practice several days a week after school. You name the domain of ability and practice is in there."

Homework is also the place where schools and families most frequently intersect.

"The children are bringing things from the school into the home," says Paula S. Fass, professor emerita of history at the University of California—Berkeley and the author of "The End of American Childhood." "Before the pandemic, (homework) was the only real sense that parents had to what was going on in schools."

Harris Cooper, professor emeritus of psychology and neuroscience at Duke University and author of "The Battle Over Homework," examined more than 60 research studies on homework between 1987 and 2003 and found that — when designed properly — homework can lead to greater student success. Too much, however, is harmful. And homework has a greater positive effect on students in secondary school (grades 7-12) than those in elementary.

"Every child should be doing homework, but the amount and type that they're doing should be appropriate for their developmental level," he says. "For teachers, it's a balancing act. Doing away with homework completely is not in the best interest of children and families. But overburdening families with homework is also not in the child's or a family's best interest."

Negative Homework Assignments

Not all homework for elementary students involves completing a worksheet. Assignments can be fun, says Cooper, like having students visit educational locations, keep statistics on their favorite sports teams, read for pleasure or even help their parents grocery shop. The point is to show students that activities done outside of school can relate to subjects learned in the classroom.

But assignments that are just busy work, that force students to learn new concepts at home, or that are overly time-consuming can be counterproductive, experts say.

Homework that's just busy work.

Effective homework reinforces math, reading, writing or spelling skills, but in a way that's meaningful, experts say. Assignments that look more like busy work – projects or worksheets that don't require teacher feedback and aren't related to topics learned in the classroom – can be frustrating for students and create burdens for families.

"The mental health piece has definitely played a role here over the last couple of years during the COVID-19 pandemic, and the last thing we want to do is frustrate students with busy work or homework that makes no sense," says Dave Steckler, principal of Red Trail Elementary School in Mandan, North Dakota.

Homework on material that kids haven't learned yet.

With the pressure to cover all topics on standardized tests and limited time during the school day, some teachers assign homework that has not yet been taught in the classroom.

Not only does this create stress, but it also causes equity challenges. Some parents speak languages other than English or work several jobs, and they aren't able to help teach their children new concepts.

" It just becomes agony for both parents and the kids to get through this worksheet, and the goal becomes getting to the bottom of (the) worksheet with answers filled in without any understanding of what any of it matters for," says professor Susan R. Goldman, co-director of the Learning Sciences Research Institute at the University of Illinois—Chicago .

Homework that's overly time-consuming.

The standard homework guideline recommended by the National Parent Teacher Association and the National Education Association is the "10-minute rule" – 10 minutes of nightly homework per grade level. A fourth grader, for instance, would receive a total of 40 minutes of homework per night.

But this does not always happen, especially since not every student learns the same. A 2015 study published in the American Journal of Family Therapy found that primary school children actually received three times the recommended amount of homework — and that family stress increased along with the homework load.

Young children can only remain attentive for short periods, so large amounts of homework, especially lengthy projects, can negatively affect students' views on school. Some individual long-term projects – like having to build a replica city, for example – typically become an assignment for parents rather than students, Fass says.

"It's one thing to assign a project like that in which several kids are working on it together," she adds. "In (that) case, the kids do normally work on it. It's another to send it home to the families, where it becomes a burden and doesn't really accomplish very much."

Private vs. Public Schools

Do private schools assign more homework than public schools? There's little research on the issue, but experts say private school parents may be more accepting of homework, seeing it as a sign of academic rigor.

Of course, not all private schools are the same – some focus on college preparation and traditional academics, while others stress alternative approaches to education.

"I think in the academically oriented private schools, there's more support for homework from parents," says Gerald K. LeTendre, chair of educational administration at Pennsylvania State University—University Park . "I don't know if there's any research to show there's more homework, but it's less of a contentious issue."

How to Address Homework Overload

First, assess if the workload takes as long as it appears. Sometimes children may start working on a homework assignment, wander away and come back later, Cooper says.

"Parents don't see it, but they know that their child has started doing their homework four hours ago and still not done it," he adds. "They don't see that there are those four hours where their child was doing lots of other things. So the homework assignment itself actually is not four hours long. It's the way the child is approaching it."

But if homework is becoming stressful or workload is excessive, experts suggest parents first approach the teacher, followed by a school administrator.

"Many times, we can solve a lot of issues by having conversations," Steckler says, including by "sitting down, talking about the amount of homework, and what's appropriate and not appropriate."

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Home » Tips for Teachers » 7 Research-Based Reasons Why Students Should Not Have Homework: Academic Insights, Opposing Perspectives & Alternatives

7 Research-Based Reasons Why Students Should Not Have Homework: Academic Insights, Opposing Perspectives & Alternatives

In recent years, the question of why students should not have homework has become a topic of intense debate among educators, parents, and students themselves. This discussion stems from a growing body of research that challenges the traditional view of homework as an essential component of academic success. The notion that homework is an integral part of learning is being reevaluated in light of new findings about its effectiveness and impact on students’ overall well-being.

The push against homework is not just about the hours spent on completing assignments; it’s about rethinking the role of education in fostering the well-rounded development of young individuals. Critics argue that homework, particularly in excessive amounts, can lead to negative outcomes such as stress, burnout, and a diminished love for learning. Moreover, it often disproportionately affects students from disadvantaged backgrounds, exacerbating educational inequities. The debate also highlights the importance of allowing children to have enough free time for play, exploration, and family interaction, which are crucial for their social and emotional development.

Checking 13yo’s math homework & I have just one question. I can catch mistakes & help her correct. But what do kids do when their parent isn’t an Algebra teacher? Answer: They get frustrated. Quit. Get a bad grade. Think they aren’t good at math. How is homework fair??? — Jay Wamsted (@JayWamsted) March 24, 2022

As we delve into this discussion, we explore various facets of why reducing or even eliminating homework could be beneficial. We consider the research, weigh the pros and cons, and examine alternative approaches to traditional homework that can enhance learning without overburdening students.

Once you’ve finished this article, you’ll know:

• Insights from Teachers and Education Industry Experts →
• 7 Reasons Why Students Should Not Have Homework →
• Opposing Views on Homework Practices →
• Exploring Alternatives to Homework →

Insights from Teachers and Education Industry Experts: Diverse Perspectives on Homework

In the ongoing conversation about the role and impact of homework in education, the perspectives of those directly involved in the teaching process are invaluable. Teachers and education industry experts bring a wealth of experience and insights from the front lines of learning. Their viewpoints, shaped by years of interaction with students and a deep understanding of educational methodologies, offer a critical lens through which we can evaluate the effectiveness and necessity of homework in our current educational paradigm.

Check out this video featuring Courtney White, a high school language arts teacher who gained widespread attention for her explanation of why she chooses not to assign homework.

Here are the insights and opinions from various experts in the educational field on this topic:

“I teach 1st grade. I had parents ask for homework. I explained that I don’t give homework. Home time is family time. Time to play, cook, explore and spend time together. I do send books home, but there is no requirement or checklist for reading them. Read them, enjoy them, and return them when your child is ready for more. I explained that as a parent myself, I know they are busy—and what a waste of energy it is to sit and force their kids to do work at home—when they could use that time to form relationships and build a loving home. Something kids need more than a few math problems a week.” — Colleen S. , 1st grade teacher

“The lasting educational value of homework at that age is not proven. A kid says the times tables [at school] because he studied the times tables last night. But over a long period of time, a kid who is drilled on the times tables at school, rather than as homework, will also memorize their times tables. We are worried about young children and their social emotional learning. And that has to do with physical activity, it has to do with playing with peers, it has to do with family time. All of those are very important and can be removed by too much homework.” — David Bloomfield , education professor at Brooklyn College and the City University of New York graduate center

“Homework in primary school has an effect of around zero. In high school it’s larger. (…) Which is why we need to get it right. Not why we need to get rid of it. It’s one of those lower hanging fruit that we should be looking in our primary schools to say, ‘Is it really making a difference?’” — John Hattie , professor

”Many kids are working as many hours as their overscheduled parents and it is taking a toll – psychologically and in many other ways too. We see kids getting up hours before school starts just to get their homework done from the night before… While homework may give kids one more responsibility, it ignores the fact that kids do not need to grow up and become adults at ages 10 or 12. With schools cutting recess time or eliminating playgrounds, kids absorb every single stress there is, only on an even higher level. Their brains and bodies need time to be curious, have fun, be creative and just be a kid.” — Pat Wayman, teacher and CEO of HowtoLearn.com

7 Reasons Why Students Should Not Have Homework

Let’s delve into the reasons against assigning homework to students. Examining these arguments offers important perspectives on the wider educational and developmental consequences of homework practices.

1. Elevated Stress and Health Consequences

The ongoing debate about homework often focuses on its educational value, but a vital aspect that cannot be overlooked is the significant stress and health consequences it brings to students. In the context of American life, where approximately 70% of people report moderate or extreme stress due to various factors like mass shootings, healthcare affordability, discrimination, racism, sexual harassment, climate change, presidential elections, and the need to stay informed, the additional burden of homework further exacerbates this stress, particularly among students.

Key findings and statistics reveal a worrying trend:

• Overwhelming Student Stress: A staggering 72% of students report being often or always stressed over schoolwork, with a concerning 82% experiencing physical symptoms due to this stress.
• Serious Health Issues: Symptoms linked to homework stress include sleep deprivation, headaches, exhaustion, weight loss, and stomach problems.
• Sleep Deprivation: Despite the National Sleep Foundation recommending 8.5 to 9.25 hours of sleep for healthy adolescent development, students average just 6.80 hours of sleep on school nights. About 68% of students stated that schoolwork often or always prevented them from getting enough sleep, which is critical for their physical and mental health.
• Turning to Unhealthy Coping Mechanisms: Alarmingly, the pressure from excessive homework has led some students to turn to alcohol and drugs as a way to cope with stress.

This data paints a concerning picture. Students, already navigating a world filled with various stressors, find themselves further burdened by homework demands. The direct correlation between excessive homework and health issues indicates a need for reevaluation. The goal should be to ensure that homework if assigned, adds value to students’ learning experiences without compromising their health and well-being.

By addressing the issue of homework-related stress and health consequences, we can take a significant step toward creating a more nurturing and effective educational environment. This environment would not only prioritize academic achievement but also the overall well-being and happiness of students, preparing them for a balanced and healthy life both inside and outside the classroom.

2. Inequitable Impact and Socioeconomic Disparities

In the discourse surrounding educational equity, homework emerges as a factor exacerbating socioeconomic disparities, particularly affecting students from lower-income families and those with less supportive home environments. While homework is often justified as a means to raise academic standards and promote equity, its real-world impact tells a different story.

The inequitable burden of homework becomes starkly evident when considering the resources required to complete it, especially in the digital age. Homework today often necessitates a computer and internet access – resources not readily available to all students. This digital divide significantly disadvantages students from lower-income backgrounds, deepening the chasm between them and their more affluent peers.

Key points highlighting the disparities:

• Digital Inequity: Many students lack access to necessary technology for homework, with low-income families disproportionately affected.
• Impact of COVID-19: The pandemic exacerbated these disparities as education shifted online, revealing the extent of the digital divide.
• Educational Outcomes Tied to Income: A critical indicator of college success is linked more to family income levels than to rigorous academic preparation. Research indicates that while 77% of students from high-income families graduate from highly competitive colleges, only 9% from low-income families achieve the same . This disparity suggests that the pressure of heavy homework loads, rather than leveling the playing field, may actually hinder the chances of success for less affluent students.

Moreover, the approach to homework varies significantly across different types of schools. While some rigorous private and preparatory schools in both marginalized and affluent communities assign extreme levels of homework, many progressive schools focusing on holistic learning and self-actualization opt for no homework, yet achieve similar levels of college and career success. This contrast raises questions about the efficacy and necessity of heavy homework loads in achieving educational outcomes.

The issue of homework and its inequitable impact is not just an academic concern; it is a reflection of broader societal inequalities. By continuing practices that disproportionately burden students from less privileged backgrounds, the educational system inadvertently perpetuates the very disparities it seeks to overcome.

3. Negative Impact on Family Dynamics

Homework, a staple of the educational system, is often perceived as a necessary tool for academic reinforcement. However, its impact extends beyond the realm of academics, significantly affecting family dynamics. The negative repercussions of homework on the home environment have become increasingly evident, revealing a troubling pattern that can lead to conflict, mental health issues, and domestic friction.

A study conducted in 2015 involving 1,100 parents sheds light on the strain homework places on family relationships. The findings are telling:

• Increased Likelihood of Conflicts: Families where parents did not have a college degree were 200% more likely to experience fights over homework.
• Misinterpretations and Misunderstandings: Parents often misinterpret their children’s difficulties with homework as a lack of attention in school, leading to feelings of frustration and mistrust on both sides.
• Discriminatory Impact: The research concluded that the current approach to homework disproportionately affects children whose parents have lower educational backgrounds, speak English as a second language, or belong to lower-income groups.

The issue is not confined to specific demographics but is a widespread concern. Samantha Hulsman, a teacher featured in Education Week Teacher , shared her personal experience with the toll that homework can take on family time. She observed that a seemingly simple 30-minute assignment could escalate into a three-hour ordeal, causing stress and strife between parents and children. Hulsman’s insights challenge the traditional mindset about homework, highlighting a shift towards the need for skills such as collaboration and problem-solving over rote memorization of facts.

The need of the hour is to reassess the role and amount of homework assigned to students. It’s imperative to find a balance that facilitates learning and growth without compromising the well-being of the family unit. Such a reassessment would not only aid in reducing domestic conflicts but also contribute to a more supportive and nurturing environment for children’s overall development.

4. Consumption of Free Time

In recent years, a growing chorus of voices has raised concerns about the excessive burden of homework on students, emphasizing how it consumes their free time and impedes their overall well-being. The issue is not just the quantity of homework, but its encroachment on time that could be used for personal growth, relaxation, and family bonding.

Authors Sara Bennett and Nancy Kalish , in their book “The Case Against Homework,” offer an insightful window into the lives of families grappling with the demands of excessive homework. They share stories from numerous interviews conducted in the mid-2000s, highlighting the universal struggle faced by families across different demographics. A poignant account from a parent in Menlo Park, California, describes nightly sessions extending until 11 p.m., filled with stress and frustration, leading to a soured attitude towards school in both the child and the parent. This narrative is not isolated, as about one-third of the families interviewed expressed feeling crushed by the overwhelming workload.

Key points of concern:

• Excessive Time Commitment: Students, on average, spend over 6 hours in school each day, and homework adds significantly to this time, leaving little room for other activities.
• Impact on Extracurricular Activities: Homework infringes upon time for sports, music, art, and other enriching experiences, which are as crucial as academic courses.
• Stifling Creativity and Self-Discovery: The constant pressure of homework limits opportunities for students to explore their interests and learn new skills independently.

The National Education Association (NEA) and the National PTA (NPTA) recommend a “10 minutes of homework per grade level” standard, suggesting a more balanced approach. However, the reality often far exceeds this guideline, particularly for older students. The impact of this overreach is profound, affecting not just academic performance but also students’ attitudes toward school, their self-confidence, social skills, and overall quality of life.

Furthermore, the intense homework routine’s effectiveness is doubtful, as it can overwhelm students and detract from the joy of learning. Effective learning builds on prior knowledge in an engaging way, but excessive homework in a home setting may be irrelevant and uninteresting. The key challenge is balancing homework to enhance learning without overburdening students, allowing time for holistic growth and activities beyond academics. It’s crucial to reassess homework policies to support well-rounded development.

5. Challenges for Students with Learning Disabilities

Homework, a standard educational tool, poses unique challenges for students with learning disabilities, often leading to a frustrating and disheartening experience. These challenges go beyond the typical struggles faced by most students and can significantly impede their educational progress and emotional well-being.

Child psychologist Kenneth Barish’s insights in Psychology Today shed light on the complex relationship between homework and students with learning disabilities:

• Homework as a Painful Endeavor: For students with learning disabilities, completing homework can be likened to “running with a sprained ankle.” It’s a task that, while doable, is fraught with difficulty and discomfort.
• Misconceptions about Laziness: Often, children who struggle with homework are perceived as lazy. However, Barish emphasizes that these students are more likely to be frustrated, discouraged, or anxious rather than unmotivated.
• Limited Improvement in School Performance: The battles over homework rarely translate into significant improvement in school for these children, challenging the conventional notion of homework as universally beneficial.

These points highlight the need for a tailored approach to homework for students with learning disabilities. It’s crucial to recognize that the traditional homework model may not be the most effective or appropriate method for facilitating their learning. Instead, alternative strategies that accommodate their unique needs and learning styles should be considered.

In conclusion, the conventional homework paradigm needs reevaluation, particularly concerning students with learning disabilities. By understanding and addressing their unique challenges, educators can create a more inclusive and supportive educational environment. This approach not only aids in their academic growth but also nurtures their confidence and overall development, ensuring that they receive an equitable and empathetic educational experience.

6. Critique of Underlying Assumptions about Learning

The longstanding belief in the educational sphere that more homework automatically translates to more learning is increasingly being challenged. Critics argue that this assumption is not only flawed but also unsupported by solid evidence, questioning the efficacy of homework as an effective learning tool.

Alfie Kohn , a prominent critic of homework, aptly compares students to vending machines in this context, suggesting that the expectation of inserting an assignment and automatically getting out of learning is misguided. Kohn goes further, labeling homework as the “greatest single extinguisher of children’s curiosity.” This critique highlights a fundamental issue: the potential of homework to stifle the natural inquisitiveness and love for learning in children.

The lack of concrete evidence supporting the effectiveness of homework is evident in various studies:

• Marginal Effectiveness of Homework: A study involving 28,051 high school seniors found that the effectiveness of homework was marginal, and in some cases, it was counterproductive, leading to more academic problems than solutions.
• No Correlation with Academic Achievement: Research in “ National Differences, Global Similarities ” showed no correlation between homework and academic achievement in elementary students, and any positive correlation in middle or high school diminished with increasing homework loads.
• Increased Academic Pressure: The Teachers College Record published findings that homework adds to academic pressure and societal stress, exacerbating performance gaps between students from different socioeconomic backgrounds.

These findings bring to light several critical points:

• Quality Over Quantity: According to a recent article in Monitor on Psychology , experts concur that the quality of homework assignments, along with the quality of instruction, student motivation, and inherent ability, is more crucial for academic success than the quantity of homework.
• Counterproductive Nature of Excessive Homework: Excessive homework can lead to more academic challenges, particularly for students already facing pressures from other aspects of their lives.
• Societal Stress and Performance Gaps: Homework can intensify societal stress and widen the academic performance divide.

The emerging consensus from these studies suggests that the traditional approach to homework needs rethinking. Rather than focusing on the quantity of assignments, educators should consider the quality and relevance of homework, ensuring it truly contributes to learning and development. This reassessment is crucial for fostering an educational environment that nurtures curiosity and a love for learning, rather than extinguishing it.

7. Issues with Homework Enforcement, Reliability, and Temptation to Cheat

In the academic realm, the enforcement of homework is a subject of ongoing debate, primarily due to its implications on student integrity and the true value of assignments. The challenges associated with homework enforcement often lead to unintended yet significant issues, such as cheating, copying, and a general undermining of educational values.

Key points highlighting enforcement challenges:

• Difficulty in Enforcing Completion: Ensuring that students complete their homework can be a complex task, and not completing homework does not always correlate with poor grades.
• Reliability of Homework Practice: The reliability of homework as a practice tool is undermined when students, either out of desperation or lack of understanding, choose shortcuts over genuine learning. This approach can lead to the opposite of the intended effect, especially when assignments are not well-aligned with the students’ learning levels or interests.
• Temptation to Cheat: The issue of cheating is particularly troubling. According to a report by The Chronicle of Higher Education , under the pressure of at-home assignments, many students turn to copying others’ work, plagiarizing, or using creative technological “hacks.” This tendency not only questions the integrity of the learning process but also reflects the extreme stress that homework can induce.
• Parental Involvement in Completion: As noted in The American Journal of Family Therapy , this raises concerns about the authenticity of the work submitted. When parents complete assignments for their children, it not only deprives the students of the opportunity to learn but also distorts the purpose of homework as a learning aid.

In conclusion, the challenges of homework enforcement present a complex problem that requires careful consideration. The focus should shift towards creating meaningful, manageable, and quality-driven assignments that encourage genuine learning and integrity, rather than overwhelming students and prompting counterproductive behaviors.

Addressing Opposing Views on Homework Practices

While opinions on homework policies are diverse, understanding different viewpoints is crucial. In the following sections, we will examine common arguments supporting homework assignments, along with counterarguments that offer alternative perspectives on this educational practice.

1. Improvement of Academic Performance

Homework is commonly perceived as a means to enhance academic performance, with the belief that it directly contributes to better grades and test scores. This view posits that through homework, students reinforce what they learn in class, leading to improved understanding and retention, which ultimately translates into higher academic achievement.

However, the question of why students should not have homework becomes pertinent when considering the complex relationship between homework and academic performance. Studies have indicated that excessive homework doesn’t necessarily equate to higher grades or test scores. Instead, too much homework can backfire, leading to stress and fatigue that adversely affect a student’s performance. Reuters highlights an intriguing correlation suggesting that physical activity may be more conducive to academic success than additional homework, underscoring the importance of a holistic approach to education that prioritizes both physical and mental well-being for enhanced academic outcomes.

2. Reinforcement of Learning

Homework is traditionally viewed as a tool to reinforce classroom learning, enabling students to practice and retain material. However, research suggests its effectiveness is ambiguous. In instances where homework is well-aligned with students’ abilities and classroom teachings, it can indeed be beneficial. Particularly for younger students , excessive homework can cause burnout and a loss of interest in learning, counteracting its intended purpose.

Furthermore, when homework surpasses a student’s capability, it may induce frustration and confusion rather than aid in learning. This challenges the notion that more homework invariably leads to better understanding and retention of educational content.

3. Development of Time Management Skills

Homework is often considered a crucial tool in helping students develop important life skills such as time management and organization. The idea is that by regularly completing assignments, students learn to allocate their time efficiently and organize their tasks effectively, skills that are invaluable in both academic and personal life.

However, the impact of homework on developing these skills is not always positive. For younger students, especially, an overwhelming amount of homework can be more of a hindrance than a help. Instead of fostering time management and organizational skills, an excessive workload often leads to stress and anxiety . These negative effects can impede the learning process and make it difficult for students to manage their time and tasks effectively, contradicting the original purpose of homework.

4. Preparation for Future Academic Challenges

Homework is often touted as a preparatory tool for future academic challenges that students will encounter in higher education and their professional lives. The argument is that by tackling homework, students build a foundation of knowledge and skills necessary for success in more advanced studies and in the workforce, fostering a sense of readiness and confidence.

Contrarily, an excessive homework load, especially from a young age, can have the opposite effect . It can instill a negative attitude towards education, dampening students’ enthusiasm and willingness to embrace future academic challenges. Overburdening students with homework risks disengagement and loss of interest, thereby defeating the purpose of preparing them for future challenges. Striking a balance in the amount and complexity of homework is crucial to maintaining student engagement and fostering a positive attitude towards ongoing learning.

5. Parental Involvement in Education

Homework often acts as a vital link connecting parents to their child’s educational journey, offering insights into the school’s curriculum and their child’s learning process. This involvement is key in fostering a supportive home environment and encouraging a collaborative relationship between parents and the school. When parents understand and engage with what their children are learning, it can significantly enhance the educational experience for the child.

However, the line between involvement and over-involvement is thin. When parents excessively intervene by completing their child’s homework,  it can have adverse effects . Such actions not only diminish the educational value of homework but also rob children of the opportunity to develop problem-solving skills and independence. This over-involvement, coupled with disparities in parental ability to assist due to variations in time, knowledge, or resources, may lead to unequal educational outcomes, underlining the importance of a balanced approach to parental participation in homework.

Exploring Alternatives to Homework and Finding a Middle Ground

In the ongoing debate about the role of homework in education, it’s essential to consider viable alternatives and strategies to minimize its burden. While completely eliminating homework may not be feasible for all educators, there are several effective methods to reduce its impact and offer more engaging, student-friendly approaches to learning.

Alternatives to Traditional Homework

• Project-Based Learning: This method focuses on hands-on, long-term projects where students explore real-world problems. It encourages creativity, critical thinking, and collaborative skills, offering a more engaging and practical learning experience than traditional homework. For creative ideas on school projects, especially related to the solar system, be sure to explore our dedicated article on solar system projects .
• Flipped Classrooms: Here, students are introduced to new content through videos or reading materials at home and then use class time for interactive activities. This approach allows for more personalized and active learning during school hours.
• Reading for Pleasure: Encouraging students to read books of their choice can foster a love for reading and improve literacy skills without the pressure of traditional homework assignments. This approach is exemplified by Marion County, Florida , where public schools implemented a no-homework policy for elementary students. Instead, they are encouraged to read nightly for 20 minutes . Superintendent Heidi Maier’s decision was influenced by research showing that while homework offers minimal benefit to young students, regular reading significantly boosts their learning. For book recommendations tailored to middle school students, take a look at our specially curated article .

Ideas for Minimizing Homework

• Limiting Homework Quantity: Adhering to guidelines like the “ 10-minute rule ” (10 minutes of homework per grade level per night) can help ensure that homework does not become overwhelming.
• Quality Over Quantity: Focus on assigning meaningful homework that is directly relevant to what is being taught in class, ensuring it adds value to students’ learning.
• Homework Menus: Offering students a choice of assignments can cater to diverse learning styles and interests, making homework more engaging and personalized.
• Integrating Technology: Utilizing educational apps and online platforms can make homework more interactive and enjoyable, while also providing immediate feedback to students. To gain deeper insights into the role of technology in learning environments, explore our articles discussing the benefits of incorporating technology in classrooms and a comprehensive list of educational VR apps . These resources will provide you with valuable information on how technology can enhance the educational experience.

For teachers who are not ready to fully eliminate homework, these strategies offer a compromise, ensuring that homework supports rather than hinders student learning. By focusing on quality, relevance, and student engagement, educators can transform homework from a chore into a meaningful component of education that genuinely contributes to students’ academic growth and personal development. In this way, we can move towards a more balanced and student-centric approach to learning, both in and out of the classroom.

Useful Resources

• Is homework a good idea or not? by BBC
• The Great Homework Debate: What’s Getting Lost in the Hype
• Alternative Homework Ideas

The evidence and arguments presented in the discussion of why students should not have homework call for a significant shift in homework practices. It’s time for educators and policymakers to rethink and reformulate homework strategies, focusing on enhancing the quality, relevance, and balance of assignments. By doing so, we can create a more equitable, effective, and student-friendly educational environment that fosters learning, well-being, and holistic development.

• “Here’s what an education expert says about that viral ‘no-homework’ policy”, Insider
• “John Hattie on BBC Radio 4: Homework in primary school has an effect of zero”, Visible Learning
• HowtoLearn.com
• “Time Spent On Homework Statistics [Fresh Research]”, Gitnux
• “Stress in America”, American Psychological Association (APA)
• “Homework hurts high-achieving students, study says”, The Washington Post
• “National Sleep Foundation’s updated sleep duration recommendations: final report”, National Library of Medicine
• “A multi-method exploratory study of stress, coping, and substance use among high school youth in private schools”, Frontiers
• “The Digital Revolution is Leaving Poorer Kids Behind”, Statista
• “The digital divide has left millions of school kids behind”, CNET
• “The Digital Divide: What It Is, and What’s Being Done to Close It”, Investopedia
• “COVID-19 exposed the digital divide. Here’s how we can close it”, World Economic Forum
• “PBS NewsHour: Biggest Predictor of College Success is Family Income”, America’s Promise Alliance
• “Homework and Family Stress: With Consideration of Parents’ Self Confidence, Educational Level, and Cultural Background”, Taylor & Francis Online
• “What Do You Mean My Kid Doesn’t Have Homework?”, EducationWeek
• “Excerpt From The Case Against Homework”, Penguin Random House Canada
• “How much homework is too much?”, neaToday
• “The Nation’s Report Card: A First Look: 2013 Mathematics and Reading”, National Center for Education Statistics
• “Battles Over Homework: Advice For Parents”, Psychology Today
• “How Homework Is Destroying Teens’ Health”, The Lion’s Roar
• “ Breaking the Homework Habit”, Education World
• “Testing a model of school learning: Direct and indirect effects on academic achievement”, ScienceDirect
• “National Differences, Global Similarities: World Culture and the Future of Schooling”, Stanford University Press
• “When school goes home: Some problems in the organization of homework”, APA PsycNet
• “Is homework a necessary evil?”, APA PsycNet
• “Epidemic of copying homework catalyzed by technology”, Redwood Bark
• “High-Tech Cheating Abounds, and Professors Bear Some Blame”, The Chronicle of Higher Education
• “Homework and Family Stress: With Consideration of Parents’ Self Confidence, Educational Level, and Cultural Background”, ResearchGate
• “Kids who get moving may also get better grades”, Reuters
• “Does Homework Improve Academic Achievement? A Synthesis of Research, 1987–2003”, SageJournals
• “Is it time to get rid of homework?”, USAToday
• “Stanford research shows pitfalls of homework”, Stanford
• “Florida school district bans homework, replaces it with daily reading”, USAToday
• “Encouraging Students to Read: Tips for High School Teachers”, wgu.edu
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Simona Johnes is the visionary being the creation of our project. Johnes spent much of her career in the classroom working with students. And, after many years in the classroom, Johnes became a principal.

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Homework in America

• 2014 Brown Center Report on American Education

Subscribe to the Brown Center on Education Policy Newsletter

Tom loveless tom loveless former brookings expert @tomloveless99.

March 18, 2014

• 18 min read

Part II of the 2014 Brown Center Report on American Education

Homework!  The topic, no, just the word itself, sparks controversy.  It has for a long time. In 1900, Edward Bok, editor of the Ladies Home Journal , published an impassioned article, “A National Crime at the Feet of Parents,” accusing homework of destroying American youth.  Drawing on the theories of his fellow educational progressive, psychologist G. Stanley Hall (who has since been largely discredited), Bok argued that study at home interfered with children’s natural inclination towards play and free movement, threatened children’s physical and mental health, and usurped the right of parents to decide activities in the home.

The Journal was an influential magazine, especially with parents.  An anti-homework campaign burst forth that grew into a national crusade. [i]   School districts across the land passed restrictions on homework, culminating in a 1901 statewide prohibition of homework in California for any student under the age of 15.  The crusade would remain powerful through 1913, before a world war and other concerns bumped it from the spotlight.  Nevertheless, anti-homework sentiment would remain a touchstone of progressive education throughout the twentieth century.  As a political force, it would lie dormant for years before bubbling up to mobilize proponents of free play and “the whole child.” Advocates would, if educators did not comply, seek to impose homework restrictions through policy making.

Our own century dawned during a surge of anti-homework sentiment. From 1998 to 2003, Newsweek , TIME , and People , all major national publications at the time, ran cover stories on the evils of homework.  TIME ’s 1999 story had the most provocative title, “The Homework Ate My Family: Kids Are Dazed, Parents Are Stressed, Why Piling On Is Hurting Students.” People ’s 2003 article offered a call to arms: “Overbooked: Four Hours of Homework for a Third Grader? Exhausted Kids (and Parents) Fight Back.” Feature stories about students laboring under an onerous homework burden ran in newspapers from coast to coast. Photos of angst ridden children became a journalistic staple.

The 2003 Brown Center Report on American Education included a study investigating the homework controversy.  Examining the most reliable empirical evidence at the time, the study concluded that the dramatic claims about homework were unfounded.  An overwhelming majority of students, at least two-thirds, depending on age, had an hour or less of homework each night.  Surprisingly, even the homework burden of college-bound high school seniors was discovered to be rather light, less than an hour per night or six hours per week. Public opinion polls also contradicted the prevailing story.  Parents were not up in arms about homework.  Most said their children’s homework load was about right.  Parents wanting more homework out-numbered those who wanted less.

Now homework is in the news again.  Several popular anti-homework books fill store shelves (whether virtual or brick and mortar). [ii]   The documentary Race to Nowhere depicts homework as one aspect of an overwrought, pressure-cooker school system that constantly pushes students to perform and destroys their love of learning.  The film’s website claims over 6,000 screenings in more than 30 countries.  In 2011, the New York Times ran a front page article about the homework restrictions adopted by schools in Galloway, NJ, describing “a wave of districts across the nation trying to remake homework amid concerns that high stakes testing and competition for college have fueled a nightly grind that is stressing out children and depriving them of play and rest, yet doing little to raise achievement, especially in elementary grades.”   In the article, Vicki Abeles, the director of Race to Nowhere , invokes the indictment of homework lodged a century ago, declaring, “The presence of homework is negatively affecting the health of our young people and the quality of family time.” [iii] 

A petition for the National PTA to adopt “healthy homework guidelines” on change.org currently has 19,000 signatures.  In September 2013, Atlantic featured an article, “My Daughter’s Homework is Killing Me,” by a Manhattan writer who joined his middle school daughter in doing her homework for a week.  Most nights the homework took more than three hours to complete.

The Current Study

A decade has passed since the last Brown Center Report study of homework, and it’s time for an update.  How much homework do American students have today?  Has the homework burden increased, gone down, or remained about the same?  What do parents think about the homework load?

A word on why such a study is important.  It’s not because the popular press is creating a fiction.  The press accounts are built on the testimony of real students and real parents, people who are very unhappy with the amount of homework coming home from school.  These unhappy people are real—but they also may be atypical.  Their experiences, as dramatic as they are, may not represent the common experience of American households with school-age children.  In the analysis below, data are analyzed from surveys that are methodologically designed to produce reliable information about the experiences of all Americans.  Some of the surveys have existed long enough to illustrate meaningful trends.  The question is whether strong empirical evidence confirms the anecdotes about overworked kids and outraged parents.

Data from the National Assessment of Educational Progress (NAEP) provide a good look at trends in homework for nearly the past three decades.  Table 2-1 displays NAEP data from 1984-2012.  The data are from the long-term trend NAEP assessment’s student questionnaire, a survey of homework practices featuring both consistently-worded questions and stable response categories.  The question asks: “How much time did you spend on homework yesterday?”  Responses are shown for NAEP’s three age groups: 9, 13, and 17. [iv]

Today’s youngest students seem to have more homework than in the past.  The first three rows of data for age 9 reveal a shift away from students having no homework, declining from 35% in 1984 to 22% in 2012.  A slight uptick occurred from the low of 18% in 2008, however, so the trend may be abating.  The decline of the “no homework” group is matched by growth in the percentage of students with less than an hour’s worth, from 41% in 1984 to 57% in 2012. The share of students with one to two hours of homework changed very little over the entire 28 years, comprising 12% of students in 2012.  The group with the heaviest load, more than two hours of homework, registered at 5% in 2012.  It was 6% in 1984.

The amount of homework for 13-year-olds appears to have lightened slightly. Students with one to two hours of homework declined from 29% to 23%.  The next category down (in terms of homework load), students with less than an hour, increased from 36% to 44%.  One can see, by combining the bottom two rows, that students with an hour or more of homework declined steadily from 1984 to 2008 (falling from 38% to 27%) and then ticked up to 30% in 2012.  The proportion of students with the heaviest load, more than two hours, slipped from 9% in 1984 to 7% in 2012 and ranged between 7-10% for the entire period.

For 17-year-olds, the homework burden has not varied much.  The percentage of students with no homework has increased from 22% to 27%.  Most of that gain occurred in the 1990s. Also note that the percentage of 17-year-olds who had homework but did not do it was 11% in 2012, the highest for the three NAEP age groups.  Adding that number in with the students who didn’t have homework in the first place means that more than one-third of seventeen year olds (38%) did no homework on the night in question in 2012.  That compares with 33% in 1984.  The segment of the 17-year-old population with more than two hours of homework, from which legitimate complaints of being overworked might arise, has been stuck in the 10%-13% range.

The NAEP data point to four main conclusions:

• With one exception, the homework load has remained remarkably stable since 1984.
• The exception is nine-year-olds.  They have experienced an increase in homework, primarily because many students who once did not have any now have some.  The percentage of nine-year-olds with no homework fell by 13 percentage points, and the percentage with less than an hour grew by 16 percentage points.
• Of the three age groups, 17-year-olds have the most bifurcated distribution of the homework burden.   They have the largest percentage of kids with no homework (especially when the homework shirkers are added in) and the largest percentage with more than two hours.
• NAEP data do not support the idea that a large and growing number of students have an onerous amount of homework.  For all three age groups, only a small percentage of students report more than two hours of homework.  For 1984-2012, the size of the two hours or more groups ranged from 5-6% for age 9, 6-10% for age 13, and 10-13% for age 17.

Note that the item asks students how much time they spent on homework “yesterday.”  That phrasing has the benefit of immediacy, asking for an estimate of precise, recent behavior rather than an estimate of general behavior for an extended, unspecified period.  But misleading responses could be generated if teachers lighten the homework of NAEP participants on the night before the NAEP test is given.  That’s possible. [v] Such skewing would not affect trends if it stayed about the same over time and in the same direction (teachers assigning less homework than usual on the day before NAEP).  Put another way, it would affect estimates of the amount of homework at any single point in time but not changes in the amount of homework between two points in time.

A check for possible skewing is to compare the responses above with those to another homework question on the NAEP questionnaire from 1986-2004 but no longer in use. [vi]   It asked students, “How much time do you usually spend on homework each day?” Most of the response categories have different boundaries from the “last night” question, making the data incomparable.  But the categories asking about no homework are comparable.  Responses indicating no homework on the “usual” question in 2004 were: 2% for age 9-year-olds, 5% for 13 year olds, and 12% for 17-year-olds.  These figures are much less than the ones reported in Table 2-1 above.  The “yesterday” data appear to overstate the proportion of students typically receiving no homework.

The story is different for the “heavy homework load” response categories.  The “usual” question reported similar percentages as the “yesterday” question.  The categories representing the most amount of homework were “more than one hour” for age 9 and “more than two hours” for ages 13 and 17.   In 2004, 12% of 9-year-olds said they had more than one hour of daily homework, while 8% of 13-year-olds and 12% of 17-year-olds said they had more than two hours.  For all three age groups, those figures declined from1986 to 2004. The decline for age 17 was quite large, falling from 17% in 1986 to 12% in 2004.  

The bottom line: regardless of how the question is posed, NAEP data do not support the view that the homework burden is growing, nor do they support the belief that the proportion of students with a lot of homework has increased in recent years.  The proportion of students with no homework is probably under-reported on the long-term trend NAEP.  But the upper bound of students with more than two hours of daily homework appears to be about 15%–and that is for students in their final years of high school.

College Freshmen Look Back  

There is another good source of information on high school students’ homework over several decades.  The Higher Education Research Institute at UCLA conducts an annual survey of college freshmen that began in 1966.  In 1986, the survey started asking a series of questions regarding how students spent time in the final year of high school.  Figure 2-1 shows the 2012 percentages for the dominant activities.  More than half of college freshmen say they spent at least six hours per week socializing with friends (66.2%) and exercising/sports (53.0%).  About 40% devoted that much weekly time to paid employment.

Homework comes in fourth pace. Only 38.4% of students said they spent at least six hours per week studying or doing homework. When these students were high school seniors, it was not an activity central to their out of school lives.  That is quite surprising.  Think about it.  The survey is confined to the nation’s best students, those attending college.  Gone are high school dropouts.  Also not included are students who go into the military or attain full time employment immediately after high school.  And yet only a little more than one-third of the sampled students, devoted more than six hours per week to homework and studying when they were on the verge of attending college.

Another notable finding from the UCLA survey is how the statistic is trending (see Figure 2-2).  In 1986, 49.5% reported spending six or more hours per week studying and doing homework.  By 2002, the proportion had dropped to 33.4%.  In 2012, as noted in Figure 2-1, the statistic had bounced off the historical lows to reach 38.4%.  It is slowly rising but still sits sharply below where it was in 1987.

What Do Parents Think?

Met Life has published an annual survey of teachers since 1984.  In 1987 and 2007, the survey included questions focusing on homework and expanded to sample both parents and students on the topic. Data are broken out for secondary and elementary parents and for students in grades 3-6 and grades 7-12 (the latter not being an exact match with secondary parents because of K-8 schools).

Table 2-2 shows estimates of homework from the 2007 survey.  Respondents were asked to estimate the amount of homework on a typical school day (Monday-Friday).  The median estimate of each group of respondents is shaded.  As displayed in the first column, the median estimate for parents of an elementary student is that their child devotes about 30 minutes to homework on the typical weekday.  Slightly more than half (52%) estimate 30 minutes or less; 48% estimate 45 minutes or more.  Students in grades 3-6 (third column) give a median estimate that is a bit higher than their parents’ (45 minutes), with almost two-thirds (63%) saying 45 minutes or less is the typical weekday homework load.

One hour of homework is the median estimate for both secondary parents and students in grade 7-12, with 55% of parents reporting an hour or less and about two-thirds (67%) of students reporting the same.  As for the prevalence of the heaviest homework loads, 11% of secondary parents say their children spend more than two hours on weekday homework, and 12% is the corresponding figure for students in grades 7-12.

The Met Life surveys in 1987 and 2007 asked parents to evaluate the amount and quality of homework.  Table 2-3 displays the results.  There was little change over the two decades separating the two surveys.  More than 60% of parents rate the amount of homework as good or excellent, and about two-thirds give such high ratings to the quality of the homework their children are receiving.  The proportion giving poor ratings to either the quantity or quality of homework did not exceed 10% on either survey.

Parental dissatisfaction with homework comes in two forms: those who feel schools give too much homework and those who feel schools do not give enough.  The current wave of journalism about unhappy parents is dominated by those who feel schools give too much homework.  How big is this group?  Not very big (see Figure 2-3). On the Met Life survey, 60% of parents felt schools were giving the right amount of homework, 25% wanted more homework, and only 15% wanted less.

National surveys on homework are infrequent, but the 2006-2007 period had more than one.  A poll conducted by Public Agenda in 2006 reported similar numbers as the Met Life survey: 68% of parents describing the homework load as “about right,” 20% saying there is “too little homework,” and 11% saying there is “too much homework.”  A 2006 AP-AOL poll found the highest percentage of parents reporting too much homework, 19%.  But even in that poll, they were outnumbered by parents believing there is too little homework (23%), and a clear majority (57%) described the load as “about right.”  A 2010 local survey of Chicago parents conducted by the Chicago Tribune reported figures similar to those reported above: approximately two-thirds of parents saying their children’s homework load is “about right,” 21% saying it’s not enough, and 12% responding that the homework load is too much.

Summary and Discussion

In recent years, the press has been filled with reports of kids over-burdened with homework and parents rebelling against their children’s oppressive workload. The data assembled above call into question whether that portrait is accurate for the typical American family.  Homework typically takes an hour per night.  The homework burden of students rarely exceeds two hours a night.  The upper limit of students with two or more hours per night is about 15% nationally—and that is for juniors or seniors in high school.  For younger children, the upper boundary is about 10% who have such a heavy load.  Polls show that parents who want less homework range from 10%-20%, and that they are outnumbered—in every national poll on the homework question—by parents who want more homework, not less.  The majority of parents describe their children’s homework burden as about right.

So what’s going on?  Where are the homework horror stories coming from?

The Met Life survey of parents is able to give a few hints, mainly because of several questions that extend beyond homework to other aspects of schooling.  The belief that homework is burdensome is more likely held by parents with a larger set of complaints and concerns.  They are alienated from their child’s school.  About two in five parents (19%) don’t believe homework is important.  Compared to other parents, these parents are more likely to say too much homework is assigned (39% vs. 9%), that what is assigned is just busywork (57% vs. 36%), and that homework gets in the way of their family spending time together (51% vs. 15%).  They are less likely to rate the quality of homework as excellent (3% vs. 23%) or to rate the availability and responsiveness of teachers as excellent (18% vs. 38%). [vii]

They can also convince themselves that their numbers are larger than they really are.  Karl Taro Greenfeld, the author of the Atlantic article mentioned above, seems to fit that description.  “Every parent I know in New York City comments on how much homework their children have,” Mr. Greenfeld writes.  As for those parents who do not share this view? “There is always a clique of parents who are happy with the amount of homework. In fact, they would prefer more .  I tend not to get along with that type of parent.” [viii] 

Mr. Greenfeld’s daughter attends a selective exam school in Manhattan, known for its rigorous expectations and, yes, heavy homework load.  He had also complained about homework in his daughter’s previous school in Brentwood, CA.  That school was a charter school.  After Mr. Greenfeld emailed several parents expressing his complaints about homework in that school, the school’s vice-principal accused Mr. Greenfeld of cyberbullying.  The lesson here is that even schools of choice are not immune from complaints about homework.

The homework horror stories need to be read in a proper perspective.  They seem to originate from the very personal discontents of a small group of parents.  They do not reflect the experience of the average family with a school-age child.  That does not diminish these stories’ power to command the attention of school officials or even the public at large. But it also suggests a limited role for policy making in settling such disputes.  Policy is a blunt instrument.  Educators, parents, and kids are in the best position to resolve complaints about homework on a case by case basis.  Complaints about homework have existed for more than a century, and they show no signs of going away.

Part II Notes:

[i]Brian Gill and Steven Schlossman, “A Sin Against Childhood: Progressive Education and the Crusade to Abolish Homework, 1897-1941,” American Journal of Education , vol. 105, no. 1 (Nov., 1996), 27-66.  Also see Brian P. Gill and Steven L. Schlossman, “Villain or Savior? The American Discourse on Homework, 1850-2003,” Theory into Practice , 43, 3 (Summer 2004), pp. 174-181.

[ii] Bennett, Sara, and Nancy Kalish.  The Case Against Homework:  How Homework Is Hurting Our Children and What We Can Do About It   (New York:  Crown, 2006).  Buell, John.  Closing the Book on Homework: Enhancing Public Education and Freeing Family Time . (Philadelphia: Temple University Press, 2004). Kohn, Alfie.    The Homework Myth:  Why Our Kids Get Too Much of a Bad Thing  (Cambridge, MA: Da Capo Press, 2006).  Kralovec, Etta, and John Buell.  The End of Homework: How Homework Disrupts Families, Overburdens Children, and Limits Learning  (Boston: Beacon Press, 2000).

[iii] Hu, Winnie, “ New Recruit in Homework Revolt: The Principal ,” New York Times , June 15, 2011, page a1.

[iv] Data for other years are available on the NAEP Data Explorer.  For Table 1, the starting point of 1984 was chosen because it is the first year all three ages were asked the homework question.  The two most recent dates (2012 and 2008) were chosen to show recent changes, and the two years in the 1990s to show developments during that decade.

[v] NAEP’s sampling design lessens the probability of skewing the homework figure.  Students are randomly drawn from a school population, meaning that an entire class is not tested.  Teachers would have to either single out NAEP students for special homework treatment or change their established homework routine for the whole class just to shelter NAEP participants from homework.  Sampling designs that draw entact classrooms for testing (such as TIMSS) would be more vulnerable to this effect.  Moreover, students in middle and high school usually have several different teachers during the day, meaning that prior knowledge of a particular student’s participation in NAEP would probably be limited to one or two teachers.

[vi] NAEP Question B003801 for 9 year olds and B003901 for 13- and 17-year olds.

[vii] Met Life, Met Life Survey of the American Teacher: The Homework Experience , November 13, 2007, pp. 21-22.

[viii] Greenfeld, Karl Taro, “ My Daughter’s Homework Is Killing Me ,” The Atlantic , September 18, 2013.

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The Pros and Cons of Homework

Updated: December 7, 2023

Published: January 23, 2020

Homework is a word that most students dread hearing. After hours upon hours of sitting in class , the last thing we want is more schoolwork over our precious weekends. While it’s known to be a staple of traditional schooling, homework has also become a rather divise topic. Some feel as though homework is a necessary part of school, while others believe that the time could be better invested. Should students have homework? Have a closer look into the arguments on both sides to decide for yourself.

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Why should students have homework, 1. homework encourages practice.

Many people believe that one of the positive effects of homework is that it encourages the discipline of practice. While it may be time consuming and boring compared to other activities, repetition is needed to get better at skills. Homework helps make concepts more clear, and gives students more opportunities when starting their career .

2. Homework Gets Parents Involved

Homework can be something that gets parents involved in their children’s lives if the environment is a healthy one. A parent helping their child with homework makes them take part in their academic success, and allows for the parent to keep up with what the child is doing in school. It can also be a chance to connect together.

3. Homework Teaches Time Management

Homework is much more than just completing the assigned tasks. Homework can develop time management skills , forcing students to plan their time and make sure that all of their homework assignments are done on time. By learning to manage their time, students also practice their problem-solving skills and independent thinking. One of the positive effects of homework is that it forces decision making and compromises to be made.

4. Homework Opens A Bridge Of Communication

Homework creates a connection between the student, the teacher, the school, and the parents. It allows everyone to get to know each other better, and parents can see where their children are struggling. In the same sense, parents can also see where their children are excelling. Homework in turn can allow for a better, more targeted educational plan for the student.

5. Homework Allows For More Learning Time

Homework allows for more time to complete the learning process. School hours are not always enough time for students to really understand core concepts, and homework can counter the effects of time shortages, benefiting students in the long run, even if they can’t see it in the moment.

6. Homework Reduces Screen Time

Many students in North America spend far too many hours watching TV. If they weren’t in school, these numbers would likely increase even more. Although homework is usually undesired, it encourages better study habits and discourages spending time in front of the TV. Homework can be seen as another extracurricular activity, and many families already invest a lot of time and money in different clubs and lessons to fill up their children’s extra time. Just like extracurricular activities, homework can be fit into one’s schedule.

The Other Side: Why Homework Is Bad

1. homework encourages a sedentary lifestyle.

Should students have homework? Well, that depends on where you stand. There are arguments both for the advantages and the disadvantages of homework.

While classroom time is important, playground time is just as important. If children are given too much homework, they won’t have enough playtime, which can impact their social development and learning. Studies have found that those who get more play get better grades in school , as it can help them pay closer attention in the classroom.

Children are already sitting long hours in the classroom, and homework assignments only add to these hours. Sedentary lifestyles can be dangerous and can cause health problems such as obesity. Homework takes away from time that could be spent investing in physical activity.

2. Homework Isn’t Healthy In Every Home

While many people that think homes are a beneficial environment for children to learn, not all homes provide a healthy environment, and there may be very little investment from parents. Some parents do not provide any kind of support or homework help, and even if they would like to, due to personal barriers, they sometimes cannot. Homework can create friction between children and their parents, which is one of the reasons why homework is bad .

3. Homework Adds To An Already Full-Time Job

School is already a full-time job for students, as they generally spend over 6 hours each day in class. Students also often have extracurricular activities such as sports, music, or art that are just as important as their traditional courses. Adding on extra hours to all of these demands is a lot for children to manage, and prevents students from having extra time to themselves for a variety of creative endeavors. Homework prevents self discovery and having the time to learn new skills outside of the school system. This is one of the main disadvantages of homework.

4. Homework Has Not Been Proven To Provide Results

Endless surveys have found that homework creates a negative attitude towards school, and homework has not been found to be linked to a higher level of academic success.

The positive effects of homework have not been backed up enough. While homework may help some students improve in specific subjects, if they have outside help there is no real proof that homework makes for improvements.

It can be a challenge to really enforce the completion of homework, and students can still get decent grades without doing their homework. Extra school time does not necessarily mean better grades — quality must always come before quantity.

Accurate practice when it comes to homework simply isn’t reliable. Homework could even cause opposite effects if misunderstood, especially since the reliance is placed on the student and their parents — one of the major reasons as to why homework is bad. Many students would rather cheat in class to avoid doing their homework at home, and children often just copy off of each other or from what they read on the internet.

5. Homework Assignments Are Overdone

The general agreement is that students should not be given more than 10 minutes a day per grade level. What this means is that a first grader should be given a maximum of 10 minutes of homework, while a second grader receives 20 minutes, etc. Many students are given a lot more homework than the recommended amount, however.

On average, college students spend as much as 3 hours per night on homework . By giving too much homework, it can increase stress levels and lead to burn out. This in turn provides an opposite effect when it comes to academic success.

The pros and cons of homework are both valid, and it seems as though the question of ‘‘should students have homework?’ is not a simple, straightforward one. Parents and teachers often are found to be clashing heads, while the student is left in the middle without much say.

It’s important to understand all the advantages and disadvantages of homework, taking both perspectives into conversation to find a common ground. At the end of the day, everyone’s goal is the success of the student.

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Is Homework Necessary? Education Inequity and Its Impact on Students

The Problem with Homework: It Highlights Inequalities

How much homework is too much homework, when does homework actually help, negative effects of homework for students, how teachers can help.

Schools are getting rid of homework from Essex, Mass., to Los Angeles, Calif. Although the no-homework trend may sound alarming, especially to parents dreaming of their child’s acceptance to Harvard, Stanford or Yale, there is mounting evidence that eliminating homework in grade school may actually have great benefits , especially with regard to educational equity.

In fact, while the push to eliminate homework may come as a surprise to many adults, the debate is not new . Parents and educators have been talking about this subject for the last century, so that the educational pendulum continues to swing back and forth between the need for homework and the need to eliminate homework.

One of the most pressing talking points around homework is how it disproportionately affects students from less affluent families. The American Psychological Association (APA) explained:

“Kids from wealthier homes are more likely to have resources such as computers, internet connections, dedicated areas to do schoolwork and parents who tend to be more educated and more available to help them with tricky assignments. Kids from disadvantaged homes are more likely to work at afterschool jobs, or to be home without supervision in the evenings while their parents work multiple jobs.”

[RELATED] How to Advance Your Career: A Guide for Educators >> 

While students growing up in more affluent areas are likely playing sports, participating in other recreational activities after school, or receiving additional tutoring, children in disadvantaged areas are more likely headed to work after school, taking care of siblings while their parents work or dealing with an unstable home life. Adding homework into the mix is one more thing to deal with — and if the student is struggling, the task of completing homework can be too much to consider at the end of an already long school day.

While all students may groan at the mention of homework, it may be more than just a nuisance for poor and disadvantaged children, instead becoming another burden to carry and contend with.

Beyond the logistical issues, homework can negatively impact physical health and stress — and once again this may be a more significant problem among economically disadvantaged youth who typically already have a higher stress level than peers from more financially stable families .

Yet, today, it is not just the disadvantaged who suffer from the stressors that homework inflicts. A 2014 CNN article, “Is Homework Making Your Child Sick?” , covered the issue of extreme pressure placed on children of the affluent. The article looked at the results of a study surveying more than 4,300 students from 10 high-performing public and private high schools in upper-middle-class California communities.

“Their findings were troubling: Research showed that excessive homework is associated with high stress levels, physical health problems and lack of balance in children’s lives; 56% of the students in the study cited homework as a primary stressor in their lives,” according to the CNN story. “That children growing up in poverty are at-risk for a number of ailments is both intuitive and well-supported by research. More difficult to believe is the growing consensus that children on the other end of the spectrum, children raised in affluence, may also be at risk.”

When it comes to health and stress it is clear that excessive homework, for children at both ends of the spectrum, can be damaging. Which begs the question, how much homework is too much?

The National Education Association and the National Parent Teacher Association recommend that students spend 10 minutes per grade level per night on homework . That means that first graders should spend 10 minutes on homework, second graders 20 minutes and so on. But a study published by The American Journal of Family Therapy found that students are getting much more than that.

While 10 minutes per day doesn’t sound like much, that quickly adds up to an hour per night by sixth grade. The National Center for Education Statistics found that high school students get an average of 6.8 hours of homework per week, a figure that is much too high according to the Organization for Economic Cooperation and Development (OECD). It is also to be noted that this figure does not take into consideration the needs of underprivileged student populations.

In a study conducted by the OECD it was found that “after around four hours of homework per week, the additional time invested in homework has a negligible impact on performance .” That means that by asking our children to put in an hour or more per day of dedicated homework time, we are not only not helping them, but — according to the aforementioned studies — we are hurting them, both physically and emotionally.

What’s more is that homework is, as the name implies, to be completed at home, after a full day of learning that is typically six to seven hours long with breaks and lunch included. However, a study by the APA on how people develop expertise found that elite musicians, scientists and athletes do their most productive work for about only four hours per day. Similarly, companies like Tower Paddle Boards are experimenting with a five-hour workday, under the assumption that people are not able to be truly productive for much longer than that. CEO Stephan Aarstol told CNBC that he believes most Americans only get about two to three hours of work done in an eight-hour day.

In the scope of world history, homework is a fairly new construct in the U.S. Students of all ages have been receiving work to complete at home for centuries, but it was educational reformer Horace Mann who first brought the concept to America from Prussia. 

Since then, homework’s popularity has ebbed and flowed in the court of public opinion. In the 1930s, it was considered child labor (as, ironically, it compromised children’s ability to do chores at home). Then, in the 1950s, implementing mandatory homework was hailed as a way to ensure America’s youth were always one step ahead of Soviet children during the Cold War. Homework was formally mandated as a tool for boosting educational quality in 1986 by the U.S. Department of Education, and has remained in common practice ever since.  

School work assigned and completed outside of school hours is not without its benefits. Numerous studies have shown that regular homework has a hand in improving student performance and connecting students to their learning. When reviewing these studies, take them with a grain of salt; there are strong arguments for both sides, and only you will know which solution is best for your students or school. 

Homework improves student achievement.

• Source: The High School Journal, “ When is Homework Worth the Time?: Evaluating the Association between Homework and Achievement in High School Science and Math ,” 2012. 
• Source: IZA.org, “ Does High School Homework Increase Academic Achievement? ,” 2014. **Note: Study sample comprised only high school boys. 

Homework helps reinforce classroom learning.

• Source: “ Debunk This: People Remember 10 Percent of What They Read ,” 2015.

Homework helps students develop good study habits and life skills.

• Sources: The Repository @ St. Cloud State, “ Types of Homework and Their Effect on Student Achievement ,” 2017; Journal of Advanced Academics, “ Developing Self-Regulation Skills: The Important Role of Homework ,” 2011.
• Source: Journal of Advanced Academics, “ Developing Self-Regulation Skills: The Important Role of Homework ,” 2011.

Homework allows parents to be involved with their children’s learning.

• Parents can see what their children are learning and working on in school every day. 
• Parents can participate in their children’s learning by guiding them through homework assignments and reinforcing positive study and research habits.
• Homework observation and participation can help parents understand their children’s academic strengths and weaknesses, and even identify possible learning difficulties.
• Source: Phys.org, “ Sociologist Upends Notions about Parental Help with Homework ,” 2018.

While some amount of homework may help students connect to their learning and enhance their in-class performance, too much homework can have damaging effects. 

Students with too much homework have elevated stress levels. 

• Source: USA Today, “ Is It Time to Get Rid of Homework? Mental Health Experts Weigh In ,” 2021.
• Source: Stanford University, “ Stanford Research Shows Pitfalls of Homework ,” 2014.

Students with too much homework may be tempted to cheat. 

• Source: The Chronicle of Higher Education, “ High-Tech Cheating Abounds, and Professors Bear Some Blame ,” 2010.
• Source: The American Journal of Family Therapy, “ Homework and Family Stress: With Consideration of Parents’ Self Confidence, Educational Level, and Cultural Background ,” 2015.

Homework highlights digital inequity. 

• Sources: NEAToday.org, “ The Homework Gap: The ‘Cruelest Part of the Digital Divide’ ,” 2016; CNET.com, “ The Digital Divide Has Left Millions of School Kids Behind ,” 2021.
• Source: Investopedia, “ Digital Divide ,” 2022; International Journal of Education and Social Science, “ Getting the Homework Done: Social Class and Parents’ Relationship to Homework ,” 2015.
• Source: World Economic Forum, “ COVID-19 exposed the digital divide. Here’s how we can close it ,” 2021.

Homework does not help younger students.

• Source: Review of Educational Research, “ Does Homework Improve Academic Achievement? A Synthesis of Researcher, 1987-2003 ,” 2006.

To help students find the right balance and succeed, teachers and educators must start the homework conversation, both internally at their school and with parents. But in order to successfully advocate on behalf of students, teachers must be well educated on the subject, fully understanding the research and the outcomes that can be achieved by eliminating or reducing the homework burden. There is a plethora of research and writing on the subject for those interested in self-study.

For teachers looking for a more in-depth approach or for educators with a keen interest in educational equity, formal education may be the best route. If this latter option sounds appealing, there are now many reputable schools offering online master of education degree programs to help educators balance the demands of work and family life while furthering their education in the quest to help others.

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Getting Student Input on the Burden of Homework

Homework creates a lot of stress for high school students, so a principal searching for solutions brought them into the conversation.

Imagine that you have a full-time job that requires you to be at the office for seven to 10 hours a day, and your boss tells that you that you will also need to work offsite on nights and weekends. After a few weeks, the after-hours projects are taking anywhere from five to 20 hours a week, and you find that you don’t have a free minute. Your job performance and your home life suffer—you’re only sleeping five hours a night, and you missed a family celebration. Unfortunately, this is the only job you’re qualified for, so you can’t quit.

If you’re a high school student these days, this is your job.

After serving as a high school principal for a decade and a half, I became increasingly concerned at the net effect that homework was having on our students. After hundreds of conversations with students, teachers, and parents, I came to believe we were reaching a tipping point.

Students told me how little sleep they were getting, parents described how stressed out their kids were, and teachers commented on how they spent endless hours grading the very work they had assigned.

And the results from our 2014 Youth Risk Behavior Survey were alarming:

• 61 percent of respondents reported experiencing “somewhat high” or “very high” levels of stress as a result of their academic workload.
• 70 percent reported that they got seven hours of sleep or less each night.
• 12 percent had seriously considered suicide in the previous 12 months, up from 8 percent in 2006.

In another survey we conducted on homework with all 1,300 of our students, 51 percent reported doing more than three hours of homework per night. This flies in the face of research showing that the benefits of homework diminish after approximately 2.5 hours a night for high school students.

The Working Group on Homework

With all of this in mind, I decided it was time to make the lives of our students better, so I formed the Working Group on Homework. I wanted to make sure that student voices informed everything we did. They were the ones experiencing the stress and the ones who had the first-hand knowledge of how difficult it was to do the work night after night.

I selected four students with very diverse academic profiles and backgrounds. This diversity is critical. If you do something like this and only pick overachievers and student leaders, they may only tell you what they think you want to hear. One of our struggling students talked about the hopelessness he felt when multiple assignments “snowballed” behind him.

Another piece that was critical to successfully incorporating student voice was meeting with the students on their own prior to the first full group meeting. I knew that with many adults in the room, the students might be hesitant to fully share their experiences. They needed to be coached, so I previewed the process for them, let them know who would be involved, and got them to outline the ideas they wanted to share. We even did some role-playing to practice what it would be like to make a point and how to respond to a follow-up question.

In addition to incorporating student voice, the best thing I did was to make it very clear to both the students and the faculty that there were no preordained conclusions going into the process. The goal was to determine simple steps we could take as a school to help bring the lives of students back into balance.

These key steps were critical to achieving a successful outcome:

• Gather data on the scope of the issue through student and parent surveys.
• Recruit teachers from every department (including guidance counselors, special educators, and tutors, for a total of 14 adults and four students).
• Establish a limited number of meetings to avoid an endless process.
• Provide specific research ahead of time for the group to read.
• Facilitate the discussions using protocols so all voices are heard.

Coming Up With Workable Changes

In the end, the Working Group came up with three recommendations that were implemented school-wide:

• No homework assigned over the weeklong vacations (we have three).
• All homework assignments posted on Google Calendar (we had been using multiple platforms).
• Homework needed to be available before the end of the class period so students could get work done during study halls and before athletics in the afternoon.

Students I talked to in the halls saw these changes as steps that definitely improved their daily lives. And it’s worth noting that the faculty bought in because we didn’t impose time limits on the amount of homework that could be assigned by individual teachers.

Without the incorporation of student voice, I’m sure this effort at making school-wide change would have ended up as yet another committee whose efforts lead to no real change. Because we involved students with different profiles and backgrounds and supported them prior to their engagement with the adults, they were better able to effectively harness the power of their experiences.

Parenting Adolescents and the Doing of Homework

When teachers send school assignments home, what are parents to do.

Posted August 19, 2019

Back to school changes life for everyone in the family in many ways. Consider one: homework starts again.

As in many aspects of parenting adolescents, there is a wide variety of opinions about the value and management of teenage homework. Maybe the following can help sort out where a mother or father might want to stand.

For some parents, doing homework comes with the adolescent responsibility of going to school: teachers give homework to supplement classroom instruction.

For other parents, homework is an intrusion by teachers into family life, creating educational demands that now must be managed at home.

In general, I think homework belabors all concerned – a nightly school assignment for the teenager to do at home, a nightly task that parents must often supervise to completion, returned assignments that teachers must now check and grade, creating more paperwork to do. Homework creates a burden on everyone.

In most public and private cases, we have a homework-based system of education in this country. While only a single grade level teacher gave homework in elementary school; in secondary school, multiple subject area teachers each give assignments so there is now more homework for the student.

If homework is nothing but a burden, why give it? One answer is because it can confer significant benefits. There is the chance for the teenager to practice academic skills, work on time-extended projects, and acquire further knowledge. For the young person who is able to make themselves do assignments that often feel unwelcome, there is also developing the self-discipline and work ethic to get them done. At best, homework can educationally engage the teenager after school and strengthen what they learn.

By the beginning of secondary school, homework counts academically. For example, a very common component in the “early adolescent achievement drop” (see March 15, 2009 blog entry) so common in middle school, when failing effort results in falling achievement, is ignoring homework. Now zeroes from incomplete assignments can lower one’s grade.

One cause for this failing effort is how homework can fly in the face of the early adolescent work ethic that often seems to be escaping from as much work as possible. And if you still can’t escape, at least get it over with quickly rather than do it well. Come the more resistant and socially focused early adolescent years, academic performance can become less of a personal priority than in childhood , as freedom and friends matter more.

So, particularly during middle school, conscientious parents can go through a contentious time with their adolescent over:

• whether there really is homework
• whether the assignments and necessary materials have been brought home
• whether the homework has actually been adequately done or done at all
• and whether completed homework ever actually got turned in

On all four counts, parental pursuit can make a positive educational difference for now and later.

For the sake of their daughter or son maintaining academic operating capacity during a more distracted and disaffected time, their supervisory support is often needed. To simply let the young person suffer the failing consequences of faltering efforts may not be responsible parenting. At this age, it is easy for the disaffected young person to discount school performance (“getting by is good enough”) and become content doing their least, not their best. Now future educational options can be unmindfully diminished.

What can frustrate parents trying to supervise homework to completion can be the young person’s seemingly infinite capacity for distraction and procrastination that can turn a thirty-minute assignment into a stressful three-hour supervisory ordeal. In this situation, parents may feel ungrateful to the school. “We end up having to help finish what the teacher started!”

Then there is the larger question some parents reasonably ask: “With all this homework to do, what about my teenager’s need for downtime to relax, for family time and responsibilities, for time pursuing other interests, and for time just for play?” So: now the question can become: “What is homework enough?”

I don’t know. Maybe decide something like this: In middle school and high school, anticipate around a couple of hours of concentrated time spent on homework on school nights and weekends. Be firm in your expectations that homework is thoroughly done; stay empathetic with the adolescent’s natural intolerance of schoolwork at home; and be sure to appreciate the young person’s self-discipline in getting it done.

When school starts assigning students homework, then parents usually find that they have more homework to do too.

Next week’s entry: When a Middle School Best Friendship ("BFF") Falls Apart

Carl Pickhardt Ph.D. is a psychologist in private counseling and public lecturing practice in Austin, Texas. His latest book is Holding On While Letting Go: Parenting Your Child Through the Four Freedoms of Adolescence.

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Is Homework Good or Bad for Students?

It's mostly good, especially for the sciences, but it also can be bad

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Homework isn't fun for students to do or for teachers to grade, so why do it? Here are some reasons why homework is good and why it's bad.

Why Homework Is Good

Here are 10 reasons why homework is good, especially for the sciences, such as chemistry:

• Doing homework teaches you how to learn on your own and work independently. You'll learn how to use resources such as texts, libraries, and the internet. No matter how well you thought you understood the material in class, there will be times when you'll get stuck doing homework. When you face the challenge, you learn how to get help, how to deal with frustration, and how to persevere.
• Homework helps you learn beyond the scope of the class. Example problems from teachers and textbooks show you how to do an assignment. The acid test is seeing whether you truly understand the material and can do the work on your own. In science classes, homework problems are critically important. You see concepts in a whole new light, so you'll know how equations work in general, not just how they work for a particular example. In chemistry, physics, and math, homework is truly important and not just busywork.
• It shows you what the teacher thinks is important to learn, so you'll have a better idea of what to expect on a quiz or test .
• It's often a significant part of your grade . If you don't do it, it could cost you , no matter how well you do on exams.
• Homework is a good opportunity to connect parents, classmates, and siblings with your education. The better your support network, the more likely you are to succeed in class.
• Homework, however tedious it might be, teaches responsibility and accountability. For some classes, homework is an essential part of learning the subject matter.
• Homework nips procrastination in the bud. One reason teachers give homework and attach a big part of your grade to it is to motivate you to keep up. If you fall behind, you could fail.
• How will you get all your work done before class? Homework teaches you time management and how to prioritize tasks.
• Homework reinforces the concepts taught in class. The more you work with them, the more likely you are to learn them. 
• Homework can help boost self-esteem . Or, if it's not going well, it helps you identify problems before they get out of control.

Sometimes Homework Is Bad

So, homework is good because it can boost your grades , help you learn the material, and prepare you for tests. It's not always beneficial, however. Sometimes homework hurts more than it helps. Here are five ways homework can be bad:

• You need a break from a subject so you don't burn out or lose interest. Taking a break helps you learn.
• Too much homework can lead to copying and cheating.
• Homework that is pointless busywork can lead to a negative impression of a subject (not to mention a teacher).
• It takes time away from families, friends, jobs, and other ways to spend your time.
• Homework can hurt your grades. It forces you to make time management decisions, sometimes putting you in a no-win situation. Do you take the time to do the homework or spend it studying concepts or doing work for another subject? If you don't have the time for the homework, you could hurt your grades even if you ace the tests and understand the subject.
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Home > Graduate College > Student Work > Graduate Research Papers > 169

Graduate Research Papers

Homework : burden or benefit.

Mandy Glawe , University of Northern Iowa

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Open Access Graduate Research Paper

Homework; Study skills;

Homework has been a controversial topic in the education world since the 1880's. Researchers and educators argue whether the burdens of homework outweigh the benefits it offers. With the No Child Left Behind Act in place and the amount of pressure it is putting on schools and teachers, it is imperative that teachers find the best practices for helping students achieve academic success. This paper describes the benefits and burdens of homework. Also, it explains the importance of a strong parent-teacher relationship, differentiating homework, how technology is changing traditional homework, alternatives to traditional homework, and options for how to assess homework. The paper finishes with conclusions and recommendations for choosing the best homework practices.

Year of Submission

Degree name.

Master of Arts

Department of Curriculum and Instruction

First Advisor

Lynn Ethan Nielsen

If you are the rightful copyright holder of this graduate research paper and wish have it removed from the Open Access Collection, please submit a request to [email protected] and include clear identification of the of the work, preferably with URL.

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1 PDF file (31 pages)

©2011 Mandy Glawe

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application/pdf

Recommended Citation

Glawe, Mandy, "Homework : burden or benefit?" (2011). Graduate Research Papers . 169. https://scholarworks.uni.edu/grp/169

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HOMEWORK- A NECESSITY OR A BURDEN?

Homework is any task, assignment, or written work that is given by the teachers to their students to complete it during outside school hours. Some of the examples of homework tasks are – reading, writing or typing or some exercise from the book, or some other skills which need to be practiced by students.

Homework is not a new concept in this age; teachers used to give homework even in the past. Teachers to make their students more confident and comfortable with the topic and make them engaged with the issues gave them some work to do at home.

But sometimes, this homework is not able to fulfill the purpose of what the teachers thought; instead, it just becomes a burden for the child. The kids, rather than enjoying and grasping more knowledge from the homework, treat the homework as a burden and only complete it so that he won’t get any scolding from the teachers.

The effectiveness of homework is still a topic of debate for many teachers. Some believe that homework doesn’t improve any significant academic performance in the students. And further, it causes more stress in kids as they are not able to get involved in any other activities apart from doing homework as they do not get any extra time. Some teachers believe that homework is an excellent way to make the kids involved and engaged with the topics. It works wonders for the below-average students, who face many difficulties in academics.

Let us understand and discuss some of the pros and cons of homework.

PROS OF HOMEWORK

It is believed that by giving homework to students, they get an opportunity to go through the topics once again at home and understand the things which they were not able to grasp appropriately in the class. It also plays like a quick revision technique because for completing the homework, sometimes the kids require to go through the topics once again. Below are some of the activities in which kids get an edge while completing the school homework.

• Better retentions of factual knowledge
• Increased understanding of topics.
• More persuasive critical thinking skills.
• Better study habits
• Time management skills.
• More independent problem-solving skills.
• Greater parental involvement in schooling.
• It helps teachers track student progress.

CONS OF HOMEWORK

As every coin has two sides, so does the homework, with its advantages having some disadvantages tagged along with it. Some people think that homework does not have any significant impact on any student’s academic performance, but it is a reason for their stress and anxiety. Apart from completing school homework, Kids do not get time to get involved in any other activities like playing, dancing, or learning some new school apart from the school curriculum.

Below are some of the impacts of homework on kids.

• The potential loss of interest in academic subjects.
• Physical and emotional fatigue; can cut into sleep time.
• The decrease in free time, family time, and other activities.
• It can widen the gap between high and low achievers.
• Increased opportunity for cheating
• Can increase pressure from parents to perform well
• It can disproportionately harm economically disadvantaged students.

A kid needs a 360-degree development, and this can’t be achieved by only giving them loads of homework. A proper balance should be made between homework and his daily activities. As of now, just academic success is not essential; getting involved in other activities that can enhance our personality is also very important.

Teachers should understand this and try to give a small amount of homework, which does not become a burden on kids, and they also get to learn from the school homework and further enjoy doing it.

Related posts:

• Meditation: Everyday Necessity For Students
• HOW CAN PARENTS HELP THEIR KIDS IN HOMEWORK
• How can parents guide their kids on homework
• THE NECESSITY OF A SCHOOLS UNIFORM OR A SPECIFIC DRESS CODE

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Poland’s kids rejoice as government bans homework. Teachers and parents aren’t so sure.

WARSAW, Poland (AP) — Ola Kozak is celebrating. The 11-year-old, who loves music and drawing, expects to have more free time for her hobbies after Poland’s government ordered strict limits on the amount of homework in the lower grades.

“I am happy,” said the fifth grader, who lives in a Warsaw suburb with her parents and younger siblings. The lilac-colored walls in her bedroom are covered in her art, and on her desk she keeps a framed picture she drew of Kurt Cobain.

“Most people in my class in the morning would copy the work off someone who had done the homework or would copy it from the internet. So it didn’t make sense,” she said.

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The government of Prime Minister Donald Tusk enacted the ban against required homework this month amid a broad discussion about the need to modernize Poland’s education system, which critics say puts too much emphasis on rote learning and homework, and not enough on critical thinking and creativity.

Under the decree, teachers are no longer to give required homework to kids in the first to third grades. In grades four to eight, homework is now optional and doesn't count towards a grade.

Not everyone likes the change – and even Ola’s parents are divided.

“If there is something that will make students enjoy school more, then it will probably be good both for the students and for the school,” said her father, Pawel Kozak.

His wife, Magda Kozak, was skeptical. “I am not pleased, because (homework) is a way to consolidate what was learned,” she said. “It helps stay on top of what the child has really learned and what’s going on at school.”

(Ola's brother Julian, a third grader, says he sees both sides.)

Debates over the proper amount of homework are common around the globe. While some studies have shown little benefit to homework for young learners, other experts say it can help them learn how to develop study habits and academic concepts.

Poland’s educational system has undergone a number of controversial overhauls. Almost every new government has tried to make changes — something many teachers and parents say has left them confused and discouraged. For example, after communism was thrown off, middle schools were introduced. Then under the last government, the previous system was brought back. More controversy came in recent years when ultra-conservative views were pushed in new textbooks.

For years, teachers have been fleeing the system due to low wages and political pressure. The current government is trying to increase teacher salaries and has promised other changes that teachers approve of.

But Sławomir Broniarz, the head of the Polish Teachers' Union, said that while he recognized the need to ease burdens on students, the new homework rules are another case of change imposed from above without adequate consultation with educators.

“In general, the teachers think that this happened too quickly, too hastily,” he said.

He argued that removing homework could widen the educational gaps between kids who have strong support at home and those from poorer families with less support and lower expectations. Instead, he urged wider changes to the entire curriculum.

The homework rules gained impetus in the runup to parliamentary elections last year, when a 14-year-old boy, Maciek Matuszewski, stood up at a campaign rally and told Tusk before a national audience that children “had no time to rest.” The boy said their rights were being violated with so much homework on weekends and so many tests on Mondays.

Tusk has since featured Matuszewski in social media videos and made him the face of the sudden change.

Education Minister Barbara Nowacka said she was prompted by research on children’s mental health. Of the various stresses children face, she said, "the one that could be removed fastest was the burden of homework.”

Pasi Sahlberg, a prominent Finnish educator and author, said the value of homework depends on what it is and how it is linked to overall learning. The need for homework can be “very individual and contextual.”

“We need to trust our teachers to decide what is good for each child,” Sahlberg said.

In South Korea, homework limits were set for elementary schools in 2017 amid concerns that kids were under too much pressure. However, teenagers in the education-obsessed country often cram long into the night and get tutoring to meet the requirements of demanding school and university admission tests.

In the U.S., teachers and parents decide for themselves how much homework to assign. Some elementary schools have done away with homework entirely to give children more time to play, participate in activities and spend time with families.

A guideline circulated by teachers unions in the U.S. recommends about 10 minutes of homework per grade. So, 10 minutes in first grade, 20 minutes in second grade and so on.

The COVID-19 pandemic and a crisis around youth mental health have complicated debates around homework. In the U.S., extended school closures in some places were accompanied by steep losses in learning, which were often addressed with tutoring and other interventions paid for with federal pandemic relief money. At the same time, increased attention to student wellbeing led some teachers to consider alternate approaches including reduced or optional homework.

It's important for children to learn that mastering something "usually requires practice, a lot of practice,” said Sahlberg, in Finland. If reducing homework leads kids and parents to think school expectations for excellence will be lowered, “things will go wrong.”

AP writers Jan M. Olsen in Copenhagen, Denmark, Michael Melia in Hartford, Connecticut, and Hyung-jin Kim in Seoul, South Korea, contributed.

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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.

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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.”

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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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