Arts

Arts

Suspended within the exhibition space, the piece occupies the room with a soft mass of red and white textiles. Dense embroidery traces arteries and vessels across the surface, while clusters of beads and pearls gather along the contours. Even with this ambitious new scale, it maintains the tactile intimacy of Shin's smaller works.

There's a huge gap between idea and [bringing that] thing into existence. And I really think AI and robotics and quantum computing and all the technology that's about to come is going to accelerate [closing] that gap [and] make walking across that bridge a lot easier.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

As a child, I imagined a place far behind our own sky. A planet with its own weather, its own atmosphere, its own logic entirely. It was my own version of science fiction. How did it feel on this planet? Was it snowy, windy, or could you sense the first green breath of spring-I called it Planet Z.

This exquisite painting displays how Drost, like his teacher, could capture a sitter's distinct individuality with inner life and contemplative potency. [The painting] shows Drost's own unique sensibility, evident in his carefully modulated brushwork and striking use of color.

Art Collaboration Kyoto will have a new leadership structure starting April 1: a seven-person committee, with each member is a director with a different focus, like gallery relations, VIP relations, or education. Yukako Yamashita, the fair's director since 2022, is stepping down this month to become chairperson of ACK Ambassadors, which the fair bills as 'an intimate, global network of established and next-generation collectors and cultural leaders.'

You have to remember that best picture is chosen by ranked choice voting: a film needs to get over 50% of voters to win, and if that criteria is not met, they eliminate the lowest ranked film and redistribute those votes to the next choices until they hit that 50% mark. In that environment, it's not enough for there to be a small base of very vocal supporters. You need everyone to kind of like your movie.

Muscle memory refers to procedural memory, actions taken that do not require conscious thought (like riding a bike) as the motor movement has been embedded in the brain through repetition. Contextual mistakes in muscle memory—such as someone attempting to zoom in while drawing on paper versus a tablet computer or double-tapping a photograph instead of a social media feed—prove a potent starting point for Doe's latest body of work.

The exquisite, jewel-encrusted boxes were badly damaged in 2024, after they were among seven treasures stolen from Paris's Musée Cognacq-Jay by a gang of axe-wielding thieves. The perpetrators broke into the temporary exhibition, titled "Luxe de Poche," or "Pocket Luxury," on November 20, making off with goods that were, at the time, reported to be worth more than €1 million.

The modular, lightweight structure dialogues with the formerly abandoned Brutalist building housing the museum, transforming its skeletal concrete structure and its surrounding land into spaces for use, care, and encounter. The project reflects on the boundaries between unfinished urban architecture and the landscape, foregrounding the labor and stewardship often invisible in both urban and institutional contexts.

The veil covering Christ is extraordinary. It's impossible to understand how Sanmartino managed to create it. The veil defies explanation—for those who can see and for those who cannot. When you touch it, you can feel the veins pulsing beneath.

In establishing the fair, a foundation (stichting in Dutch) seemed the most fitting legal entity for the purpose of creating an event 'run by dealers, for dealers... so that nobody had an advantage over anybody else.' That Tefaf operates as a not-for-profit differentiates it from other major art fair brands. There are no shareholders demanding a return, no owners to primp the thing for sale.

Many of these posters are the only surviving proof of certain shows, with no recordings of plays, and certain films, having been lost over time. They offer a history of Black Americans trying to counter harmful stereotypes and provide vital and humanizing contributions to a growing Black culture.

I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera. Parks recognized photography's potential as a tool for social change and advocacy, viewing the medium not merely as documentation but as an active means of confronting systemic injustices and giving visibility to marginalized communities.

The longer we wait, the more difficult it will become to remedy the damage. Since 2019, state funding had all but dried up, forcing the foundation to auction works to raise funds to continue the restoration of both the iconic building and its many site-specific works.

At first glance, this curatorial oversight is hardly surprising. After all, Picasso was an atheist and Communist supporter whose ever-shifting practice seemed to chafe against centuries of religious art. Indeed, in a well-known episode from the 1940s, Picasso personally confronted Henri Matisse for accepting the Vence chapel commission.

What we found was that errata sheets were not only spaces for corrections but also sites of humor, legal maneuvering, and reinterpretation. With this exhibition, we wanted to share ways in which even small corrections can reshape meaning and authority.

Francie thought that all the books in the world were in that library and she had a plan about reading all the books in the world. I couldn't help but think of little Francie Nolan who, like Smith, grew up in the tenements of Brooklyn in the early 20th century and aimed, as a young girl, to read every book she could find as I tore through librarian Jarrett Dapier's debut young adult graphic novel, Wake Now in the Fire.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

Just shy of 300-feet and improbably painted using an iPad, Hockney's frieze winds its way around the outer perimeter of "A Year in Normandie and Some Other Thoughts about Painting," on view at Serpentine North through August 23. These nonchalantly referenced "other thoughts," however, are far from just afterthoughts. They comprise 10 new portraits and explorations of abstraction from 2025, a year that evidently saw Hockney busy hatching new experiments on the pictorial plane.

More and more, I am realizing that we need art to survive. The phrase worked in two ways: We need art to survive for our personal enrichment and enjoyment. We need art to survive for its own longevity, so it can be around for us and those who come after us.

This first edition book of Shakespearean poems was published by Kelmscott Press, the private press founded by the English designer and author William Morris in 1891. This example is covered in an opulent, bejewelled binding from the renowned London bookbinders Sangorski and Sutcliffe. The decoration, set with mother-of-pearl and more than 100 precious stones, takes inspiration from the sonnets inside.

This is a work of exceptional importance. We had the objective of making an artistic masterpiece that would otherwise be destined for the art market accessible to scholars and enthusiasts.

I wanted to translate that idea into public space, to imagine the trail as a site of encounter between visitors and works by artists whose visual language already centres otherworldly beings, creatures or ecologies. In that meeting, the strange or unfamiliar hopefully becomes a source of curiosity and interconnectedness.