ISHI GLINSKY

Photography By

RUBEN DIAZ

NTS MIXTAPES

POWWOW SONGS

PHILIP GLASS

YELLOW MAGIC ORCHESTRA

YVES TUMOR

BEACH HOUSE

Ishi Glinsky’s practice mimics the meticulous virtuosity of a composer. The Los Angeles–based artist is tied to the landscape—and baseball team—of his adopted home, but through his work he digs into the traditions and creative ecosystem of his tribe, the Tohono O’odham Nation, and other North American First Nations. This summer, Glinsky will bring these concerns, and their material articulations, to the fore as part of the Hessel Museum of Art’s “Indian Theater: Native Performance, Art, and Self-determination Since 1969,” and Tiwa Select’s presentation at the North American Pavilion in London. In the fall, the artist heads back to LA, where he will be featured in the Hammer Museum’s “Made in L.A. 2023: Acts of Living.”

WHAT SOUNDS HAVE INFLUENCED THE WORK THAT YOU’LL BE SHOWING AT THE BIENNIAL? One facet of my next sculpture is inspired by the stillness and silence of the start of a powwow. It’s about creating a memory of viewing and participating in the Grand Entry of a powwow, while also zeroing in on the regalia and objects that create a roar, [the] concert of sounds mostly meant for healing.

WHAT’S YOUR FAVORITE WAY TO LISTEN TO MUSIC? Headphones. I like to keep what I’m listening to private. I have a shared studio space, but even if no one is around, I’d rather crank up my headphones than use a speaker.

FIRST SONIC MEMORY? Quail songs and thunder from the summer monsoons. The sound and smell of desert monsoons are very particular to the Southern Arizona desert and different from anywhere else.

FAVORITE SOUND? My partner’s laugh, gessoing a canvas, the sound of a home run.