Laurel Nakadate, “The Kingdom # 10” (2018), inkjet print, 11 x 8 1/2 inches (sheet), 14 3/4 x 11 3/4 inches (framed), edition with 2 APs, copyright Laurel Nakadate (courtesy Leslie Tonkonow Artworks + ...

Laurel Nakadate told the young girl to strip to her underwear. “Why don’t you take your shirt off?” Ms. Nakadate said. “You know you’re the prettiest girl, right? Let’s see your panties.” The exchange ...

Tallis Eng over at the Paris Review’s blog has an interesting reading of the work of video artist Laurel Nakadate. The essay, in fact, appears to be a work of fiction. It is labeled as such on the ...

As the child of an interracial marriage (I got to meet my blue-eyed, English grandmother when I was seven, later discovering that she bore an uncanny resemblance to Virginia Woolf), I have to admit to ...

Playing at New York’s IFC Center tonight — and on newsstands now in the current issue of The Believer — is Laurel Nakadate’s The Wolf Knife, one of Filmmaker‘s Best Film Not Playing at a Theater Near ...

Fleeing her mom’s creepy fiancé and the suffocating boredom of Florida in the summer, teenaged Chrissy enlists best friend June to help find her estranged father. “The Wolf Knife” follows the girls on ...

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Multimedia artist and filmmaker Laurel Nakadate is a provocateur. Intrigued by the relationship between sex and power, she has often placed herself in her photographs and videos, partially clothed or ...

Laurel Nakadate's work is risky, in every sense. Her boundary-crossing videos and photography are more than bold: they take her into potentially explosive situations. Over a decade ago, when she was ...

Laurel Nakadate describes her latest photographic series, “365 Days: A Catalogue of Tears” (2011), as a “durational piece” for which she photographed herself every day for a year, crying, in different ...