I have virtually no idea what the finished piece will look like until I actually begin working with the wood. As a result, the form often emerges as I carve, and I frequently change my plans midway through the process. Naturally, I keep the many failures a secret.
Distance does not soften the terror. It only deepens my helplessness. In moments like this, I realize that geography is not measured in miles, but in attachment. War rearranges distance. These days I find myself returning to "The Conference of the Birds," the 12th-century poem by Attar of Nishapur, seeking meaning through ancient wisdom about spiritual journeys and transformation.
The 40-year-old suspect, identified as Alexander Taylor Weis, allegedly caused $240,000 worth of damage to multiple plant-shaped glass artworks on Monday night, March 16. He was later arrested on suspicion of burglary and assault after police arrived at the venue, which is directly adjacent to the city's Space Needle observation tower.
Streep's investment reflects her enduring belief in the power of amplifying women's voices. One of the museum's earliest and most steadfast supporters, her seven-figure donation will be used for the creation of dynamic storytelling experiences designed to reach audiences wherever they are, from classrooms to living rooms to the digital platforms people engage with every day.
The RA is led by leading artists and architects, with the UK's oldest-and, crucially, free-art school at its heart. The opportunity to shape the RA's artistic programme and respond to its extraordinary gallery spaces, as well as launching the expanded Collection Gallery, is tremendously exciting.
His humor, his clarity, and his vision shaped many discussions across the agency and within the wider photographic world. This exhibition pays homage to the unique vision of Martin Parr, whose sharp eye for contemporary society and prominent role within Magnum Photos have left an enduring mark on photography.
Communities make museums and museums make communities. Part of the establishment of M+ was a public consultation where people were asked what kind of museums they wanted. The recommendation was not to build lots of little museums, but to create a big museum that was cross-disciplinary, unburdened by labels like "modern" or "contemporary". It was to be a museum plus more, and that was how we became M+.
Artists are not bureaucrats. They cannot be reorganized, reassigned, or threatened into compliance. They can simply decide not to show up, and when enough of them make that decision, the most prestigious stage in the country becomes an empty room.
Ong's work contains a deep reverence for the otherworldly, combining the remnants of ancestral knowledge with speculative visions to form a kind of personal myth-making. The title of their latest series, "Always Were", is intentionally fragmentary suggesting a temporal and grammatical ambiguity that points to the liminal nature of Ong's figures and the time and place they inhabit.
From Hitchcockian stylish suspense and audacious comedy to deeply personal storytelling, infused with magic, and a big-hearted laugh-out-loud world premiere musical this season invites audiences into conversations that are urgent, hilarious, and profoundly human.
The Arctic World Archive (AWA) is a data storage unit where organisations and individuals can deposit records kept on specialist digitised film called Piql that lasts up to 2,000 years. On 27 February, Nigeria became the first African country to place archives at the facility 300 metres beneath a mountain where the cold, dark, dry conditions are perfect for preservation.
As nature photographers, we're oft waiting for those 'hell yes' moments to pack up and move out, and this was a 'hell yes' moment! I traveled from minus 10 degrees Fahrenheit to over 90 degrees in a day!
Lorena Bradford started monthly tours in American Sign Language, established a program for individuals with memory loss, and brought in medical students to learn soft skills to apply in their caregiving. 'I was a sub-department of one,' she joked to writer Emma Cieslik, who spoke with Bradford over Zoom and at the NGA about her own circuitous path into the profession, and the future of the field of museum accessibility.
With an emphasis on the reception of Kahlo's work across times and cultures in the past century, the exhibition blasts apart any crystallized conception of the artist until no easily digestible singular figure emerges. That is, indeed, the point.
There is a scene in "Morgenkreis | Morning Circle" (2025), a 16-mm film by Berlin-based Palestinian artist Basma al-Sharif, that unfolds at the threshold of a daycare center. A young boy clings to his father, his fists locked into the fabric of his coat, his arms wrapped tightly around him. The father gently tries to pry himself free while a daycare worker crouches nearby, attempting to distract the child and coax him inside. It is an ordinary moment, one that anyone who has ever been a child - or cared for one - recognizes instantly, as well as the gut-wrenching feeling it provokes.
In the Roman Empire, Egyptian blue was typically traded in the form of small pellets, which were ground into a useable powder, and researchers estimate between six and 10 pounds were used to coat the Blue Room. Using prices quoted by Pliny the Elder (who died in nearby Stabiae during the eruption), the researchers estimate this much paint would have cost 93 to 168 denarii, perhaps equivalent more than 1,000 loaves of bread or 90 percent of a soldier's annual salary.
Our role is, first and foremost, to transmit our fascination with a craft and to ignite that same excitement in the designer. This is the foundation of our curatorial approach: creating the right encounter between a designer's universe and that of a workshop.
