#cassie-donegan

#cassie-donegan

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.

Light functions as a primary organizing force throughout the work. Domestic illumination, nocturnal lamplight, and mediated light from screens divide the image into overlapping zones of visibility and shadow.

In many works, sturdy, almost sculptural nude women appear alongside children and dogs, suggesting an untamed intimacy. The rust-colored painting is Barry's interpretation of the famed Capitoline Wolf, a centuries-old sculpture depicting Romulus and Remus, the mythical twin founders of Rome who were suckled by a she-wolf after being abandoned.

I see myself first and foremost as a weaver working at the intersection of craft and technology. As an Angeleno, I grew up learning how to weave in the Wixárika tradition of my matriarchal bloodline by watching my mother and my grandmother.

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.

All but one of the song titles on Body Sound, the debut album from experimental string trio Whitney Johnson, Lia Kohl, and Macie Stewart, line up nicely-a few words, usually two, usually nouns, separated by a vertical line. The straight line in the middle means different things in different disciplines. In computing, it's called a 'pipe' and serves as a conduit. In poetry, it denotes a pause or break. In music, it marks the beginning and end of measures.

"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.

The show features pieces by participants in JASA's programs. The organization, which serves more than 40,000 older adults every year, offers art classes and creative workshops designed to bring people together while encouraging self-expression. The results will be on full display here, from paintings and textile work to other handmade pieces that reflect the artists' personal stories and styles.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

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.

The first things that struck me about Jason Gubbiotti's paintings at RecRoom were the small dimensions of the work, the relationship of their modest size to the artist's elaborately precise, often lattice-like geometric compositions, and their brilliant beguiling color. The work is also audaciously, unapologetically beautiful, and deeply pleasurable to look at.

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.

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.

Since she graduated in the late 1980s, amid the Aids crisis, Opie has made portraits of her community, friends and family, adopting unflinching realism, saturated colours, and dramatic tonal contrasts from the 16th-century portrait painters. Many of Opie's most famous portraits included in her new exhibition at the National Portrait Gallery use these devices deliberately, a declaration that these people deserve, as the title of the show underlines, to be seen.

When Zindzi Okenyo takes the Sydney Theatre Company (STC) stage in June for John Patrick Shanley's Tony award-winning play Doubt the role played by Viola Davis in the film it will be a particularly special moment: her fourth main-stage role playing a black woman in a 20-year theatre career. I'm really excited about it, I haven't had a black role for so long, she says.

Tara Donovan presents Stratagems at the Institute of Contemporary Art San Francisco (ICA SF), at the Transamerica Pyramid Center, installing a group of vertically oriented sculptures made entirely from thousands of recycled CDs. On view until July 31st, 2026, the exhibition is installed within the transparent Annex space. Stratagems enters into a deliberate exchange with the Transamerica Pyramid itself. The sculptures echo the skyscraper's verticality and reflective skin, while their recycled material introduces a counterpoint to the monumentality of the building.

With most of us, 90 minutes of reminiscing wouldn't make for scintillating theater. Gert Boyle, as played by Wendy Westerwelle, is the exception to that rule. The late Gert came to fame when she took the reins of Columbia Sportswear after her husband's death in 1970 and also became the "One Tough Mother," with gray hair and glasses, of its comedic '80s and '90s ad campaigns. In one, she put her son, Tim, through a carwash to test the durability of a coat.

When I walked in, I just teared up. I've received so many texts and DMs that said, "Do you know you're plastered all over Paris?" To me, this is just the beginning. I come from a long line of incredible matriarchs who always fought to do the right thing. My mother worked and struggled, so I know what it takes to get things done.

The path to the first New York solo show for Elda Cerrato (1930-2023), now on view at Galerie Lelong, was a long and winding one. Born in Italy to Jewish parents, Cerrato was a child when her family fled fascism in Europe for South America. Authoritarianism continued to shape her life in adulthood, as Cerrato and her husband and son were forced to leave Argentina to escape persecution at the hands of the country's military junta in 1973.

The paintings are charged with potential discomfort- from middle school angst to family dynamics. The work wrestles with the nebulous nature of memory and piecing together the past. Taylor embraces the power of sentimentality and nostalgia, but also confronts the complexity of misunderstood communication. Even shared experiences can be perceived vastly differently. By looking to the past we can begin to better understand ourselves, and those around us.