#blobby-slowik

#blobby-slowik

I think it was from a quote or something where I said I wasn't necessarily concerned with the films making perfect sense. My works are a reflection of that chaos and unpredictability.

"Most dance studio education in the U.S. still starts with ballet and works towards recitals. But historically, hundreds of distinct dance traditions emerged from cultures around the world long before ballet became the norm in European courts."

"I knew nothing about photography. I ended up making 40,000 goddamn slides."

The design elements I would use for my maximalist work takes inspiration from tarpaulin advertisements and posters you would see across Metro Manila. The visual character of these advertisements are really kitsch.

This captivating photo depicts not an isolated incident, nor accident, nor allegory, but rather an ongoing war crime, underscoring the importance of not looking away.

Knowles's performances, such as Make a Salad and Identical Lunch, showcased her unique approach to art through food, engaging audiences in the experience of preparation and consumption.

The exhibition presents approximately 30 works by Alighiero Boetti, beginning with a core group from the museum's permanent collection, including early works from the 1960s.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

AT FIRST GLANCE, the phrase "avant-garde advertising" might seem like a contradiction in terms: The avant-garde is assumed to be inherently anti-capitalist and the realm of advertising crassly commercial. But the involvement of avant-garde artists with advertising is in fact rich, complex, and long-standing, encompassing a full century of collaborations, critiques, and reworkings of all sorts. That entanglement-in all its diversity-is the topic

Poetry and artificial intelligence can appear as oppositesone deeply human; the other cold and mechanical. Sasha Stiles sees them as expressions of the same impulse. Poetry, the Kalmyk- American poet argues, is one of our most ancient and enduring technologies, a system of meter and rhyme invented to store vital information. She views AI as its natural heir. Stiles's path to AI began with literature, not code.

Hundreds of hipsters in Williamsburg, Brooklyn, are gearing up to watch a rented groundhog whisper in the ear of ex-mayoral candidate Curtis Sliwa in McCarren Park on Saturday to see whether they'll be getting six more weeks of winter. The loopy local twist ahead of Feb. 2, Groundhog Day's official date, is the brainchild of 26-year-old event organizer Riley Callanan - who shelled out $2,250 to rent the varmint from an animal rental service.

"The first step towards a cure is admitting you have a problem," artist Josh Kline writes, highlighting the inequities in New York City's real estate market and its impact on art.

Inside NYC-based artist Mark Dorf's project Late Pastoral, the ecological world is trapped in a rear-illuminated print. It's real - but something is off, it's been digitally altered, data-noise clutters images of glowing plant life. Shaped by the pervasive influence of technology, design and the rhythms of digital connectivity, even nature becomes at one with the unreal. Non-human nature is the main thesis of Mark's wide-spanning digital art works, offering reflections on our digital age.

The 2026 Whitney Biennial opened at the beginning of the month, providing a snapshot of current trends and curatorial interests in the art world.

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.

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.

Taking over the museum's transformed school building starting April 16, the cross-borough survey will celebrate MoMA PS1's 50th anniversary with a bevy of site-specific installations, new commissions, and rarely seen work by 53 artists and collectives living and working across New York City. A complete list of participants is included at the end of this article. This year, Greater New York will coincide with the Whitney Biennial for the first time in the show's history.