The show is called The Pollinators. Much of the work draws from her interest in nature, and the pieces in the show reflect on the important work of the planet's endangered pollinators—but there's also a read of them as hybrid creatures with some aspects of the female face and form. They're kind of strange and a little monolithic. They are kind of moth-like and plant-like and relate to endangered species. But they also have neon coming out of their eyes.
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.
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.
This year, the category shows more signs of life, as only two of the five nominees will receive a full live treatment on TV this Sunday. That move is a bummer for the category's also-rans: a dreamy closing-credits dirge, an operatic piece from a little-seen documentary and an obligatory reminder that Diane Warren will most likely receive a doomed Oscar nomination every year until the end of time.
They had to learn how to read drawings upside down, because they weren't allowed to sit next to the white clients. So I was incorporating things like the half doorway to symbolize their struggle. The tower is a nod to five Black architects, trailblazers whose creations sometimes went unnoticed or overlooked.
These cuts threaten shovel-ready projects, major employers, and rural and urban communities across the state. And they come at a time when [Oregon] arts funding is already among the lowest in the nation. Legislators had been considering cutting nearly $900,000 in arts and culture funding when the session started on Feb. 2.
The immersive experience, titled "Larger Than Life: Starring Wallace & Gromit, Shaun and More," will take over the Lightroom at London's King Crossing this October, marking the Oscar-winning outfit's 50th anniversary. Beloved characters Wallace, Gromit, Morph, and Shaun the Sheep will share the silver screen for perhaps the first time this year-not in a feature film, but in a 50-minute ode to their creator, Bristol-based animation studio Aardman.
Paul Hobson's black-and-white image of a leaping, silhouetted toad takes top honors this year, captured at a pond near his home in Sheffield. He snapped the photo from inside the pond, having built a glass box that could settle into the water and protect his camera as the active amphibians bounding over it. The right shot took some patience, too, as toads would often swim over the box and sit on top of it rather than jumping across.
