Maren Hassinger on Seng Nengudi, Becoming an Artist, and More | INTERVIEWS

Why It Matters

Hassinger’s blend of everyday materials and political intent demonstrates how contemporary artists can democratize art while shaping public discourse, offering a roadmap for socially engaged practice.

Key Takeaways

• Hassinger uses newspapers as accessible, collaborative material in performance art
• Early work was personal; later realized art can have political impact
• Rejected from sculpture graduate program, joined pioneering fiber MFA instead
• Mentors Isaac Witkin and David Smith shaped her sculptural philosophy
• Emphasizes art platforms as serious soap boxes, used responsibly

Summary

The interview centers on artist Maren Hassinger’s evolving practice, from early personal sculpture to collaborative performance work that leverages everyday materials. She recounts a recent London show at White Cube where she performed alongside Seng Nengudi, highlighting how newspapers became a democratic medium for group creation.

Hassinger explains that her initial art was driven by personal feeling, but over time she recognized its potential for political resonance. A pivotal moment came when she was denied entry to a traditional sculpture graduate program, only to become the first MFA graduate in a new fiber‑structure track, a shift that broadened her material vocabulary.

She cites mentors such as Isaac Witkin, whose African‑inspired pieces she admired, and David Smith, whose studio visits left lasting impressions. Hassinger also references iconic works like the Venus of Willendorf and Rodin, using them to illustrate the tension between classic figurative sculpture and contemporary political content.

The conversation underscores the importance of accessible platforms—newspapers, performance, and public exhibitions—as “serious soap boxes” for artists to engage audiences responsibly, suggesting a model for future creators seeking both aesthetic and civic impact.

Original Description

Maren Hassinger very nearly became a dancer. As it happened, two fortuitous turns in her education in the 1970s led her to create sculptures hewn of fibrous metal and knotted detritus. From her early work in Los Angeles—including the 1979 installation of twelve wire rope “trees” near the Mulholland Drive exit ramp—to her recent “mandala” of repurposed pages from the New York Times, questions of ecological and spiritual consciousness have long underscored Hassinger’s practice. She is known for works in a range of media as well as for her collaborative bent.