#aaron-anselmino

#aaron-anselmino

"It's an amalgamation of the Chicago neighborhood aesthetic with a Bulls fan, quite literally. It's kind of on the nose, but that's how I juxtapose the elements of my work, with the structure of a home and then a figure who is around or in the home."

Abraham Vazquez has this lusty, powerful, aching voice. This song is about loss, and you feel it with every inch of intensity that he's performing.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

It was literally the rise of the Phoenix. All these places that we knew and loved, they dissolved and died. Everybody had so much energy because we were mandated to stay in the house. When we made the announcement that we have a store, people were coming up, masking up, and they were buying shit.

Every terrible thing always begins in the prettiest weather. Cruelty loves a clear sky. . . . Every war starts on a perfect day. This opening number from Diane Severin Nguyen's War Songs captured the paradox of experiencing extraordinary art and cultural vitality while geopolitical crises unfold, setting the tone for the week's contradictions.

The Outsider Art Fair has enriched New York City's art world since its inception in 1993, presenting eclectic and idiosyncratic artists who challenge traditional fine art hierarchies.

Last summer, Alexander Wang bought the Beaux-Arts HSBC bank on Bowery and Canal for $9.5 million in cash. At the time, the fashion designer declined to say what he was planning to do with the domed 1924 landmark, which HSBC had shuttered a few years earlier. Now, Wang and his mother Ying - one of the co-trustees on the deed - have announced that they will be opening an Asian American cultural center, Wang Contemporary, in the 17,600-square-foot space at 58 Bowery.

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.

Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.

Segal developed ELLO over seven years, drawing from his background operating a licensed YouTube Multi-Channel Network. The result is a hybrid platform that merges media publishing with secure messaging, eliminating reliance on social algorithms or third-party dashboards. ELLO supports video, audio, livestreaming, and digital publishing within a unified interface. For legacy media brands, the platform enables mobile-native magazine publishing-eschewing PDFs in favor of scrollable, interactive formats optimized for smartphone consumption.

Some dealers at Frieze Los Angeles said they sold more in L.A. than they did at Art Basel Miami Beach in December, suggesting that market confidence has continued to strengthen since the end of the last year. The city's art week also saw a record number of satellite events as the appetite for alternative fair models continues to grow.

We're just a week away from Frieze LA, when East Coast dealers and local artists alike descend upon the Santa Monica Airport, but this isn't Renée Reizman's first rodeo. Since the critic and artist moved to the area almost 15 years ago, she's witnessed blue-chip New York galleries set up shop and sideline the irreverent, DIY spaces that shape the local art scene. Without these spaces, Reizman writes, she would not have discovered what art can be outside of the white cube.

The 31st edition of the LA Art Show is back this week at the downtown Convention Center, more than a month before Frieze, Felix, and Post-Fair roll into town. Although it is LA's longest-running art fair, the show is somewhat of an outcast, snubbed as pedestrian, too commercial, and out of touch with the cutting edge of the global art world. But at the rear of the cavernous exhibition hall, a pair of projects organized by curator Marisa Caichiolo gives visitors a sense of the fair's cultural and political relevance.

I work outside, carving and shaping the stone. Outside my house, I have a table, an extension cord, and tools. It's very cold and I have to wear all my winter clothes. When it's too cold, I do the filing and finishing work inside after I shape it outside. I listen to all kinds of music. I listen to Eminem all the time; his albums are all my favorites. For drawings, I work at Kinngait Studios or at home on my kitchen table.

"The four large-scale canvases that constitute the core of ' Misfits' maintain the fundamental elements of the artist's visual lexicon while radically reconfiguring compositional structure and spatial organization. These works advance a design freedom that is simultaneously forceful and controlled, achieving a balance between expressive intensity and formal restraint. As such, the series marks a decisive moment in Nuñez artistic evolution and possibly an initial step toward a more profound and transformative reorientation of his practice."