#colin-granger

#colin-granger

Sabahs are made entirely by hand from 100% leather in either Texas or Turkey—two regions with distinct yet deeply rooted relationships to the material. The result is a shoe that varies subtly from pair to pair, even within the same size.

"I love the range in this booth, from large-scale ceramic totems to more intimate neon paintings. I'm always impressed by the artists Freeburg represents and the clarity of her program's mission."

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 curators of Greater New York really captured the energy of the city well - not the out-of-towner's New York with its glossy surfaces, brands, and trendy fare, but the gritty New York that's always in the process of formation, that rejects surface in favor of rawness.

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.

Casa Kahlo offers an unprecedented look into the famed Mexican painter's family home, Casa Roja, which stands just blocks away from Casa Azul in Mexico City. Kahlo would retreat to Casa Roja when Casa Azul got crazy.

Anderson's paintings are a poetic response to place, teeming with personal and cultural resonance, often relating to a feeling of 'being in one place while thinking of another.'

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

In the midst of the fabulous The Winter Show last weekwhere connoisseurship, collecting, and cultivated taste converge under one vaulted roofthere was a moment of pause, exhale, and recalibration at the heart of the fair: the VIP Collectors Lounge. This year, not as sponsorship, but as philosophy made spatial. It was titled The Modern Salon. Conceived and designed by frenchCALIFORNIA, The Modern Salon rejected the trade-fair instinct toward visual noise and brand fragmentation.

Jasper Johns seemed to reject the tortured, in-the-moment 'I' of Abstract Expressionism, ironically commenting on the heroism and spontaneity associated with Jackson Pollock and Willem de Kooning in his early work.

"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.

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

Dealers like artists with established sales records because it lowers their already considerable financial exposure. Renting a gallery space in Tribeca costs anywhere between $8,000-30,000 a month on top of staff, marketing, and daily operations. With that kind of overhead, very few business owners can afford to take on the financial risk of untested artists.

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.

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.

Disembodied heads, eyes, and hands meet spindly trees, dragonflies, and vibrant blossoms in the folk-art inspired works of Michael McGrath. Based in Rhinebeck, New York, McGrath melds a variety of media-most pieces contain a mixture of graphite, ink, and oil and acrylic paints-into dynamic compositions suffuse with mystery. Recurring symbols and objects lend themself to a distinctive visual language that captures both the wondrous and puzzling.

Sprouting from the roof of the San Francisco Museum of Modern Art, artist Rose B. Simpson's newly installed bronze sculpture "Behold" has its gaze fixed on the cityscape before it. The Tewa of Khaʼpʼoe Ówîngeh artist, herself a mother, crafted a tender portrait of an interconnected parent and child that "asks us to be human with each other, to change our narrative through wonder, witness and a foundation in the soft warmth of our humanity," she said in a statement.

Marah Al-Za'anin, an 18-year-old Palestinian artist, has transformed a tent in Gaza City's Al-Rimal neighborhood into a studio. Al-Za'anin can't have been more than 15 or 16 years old when the genocide began, but she continues to pursue her passion for art and uses her brother's phone as a light source while she paints and draws late into the night. (photo by Saeed Jaras/Middle East Images/AFP via Getty Images)

Mornings are best for concentrated work. In the winter, I turn on the heat at 8am and get started around 10am. Summer, I start around 9am. I have two areas in the studio for projects. The large, heavy wood sculptures are carved in the front section of the studio, closest to the roll-up wide door. Smaller sculptures are placed on a hydraulic workbench. Before I start, I focus, connect with the Source, and ask for guidance.

In 2024, I made a vow to never base my art criticism on wall labels. My decision came after reading reactions to that year's Whitney Biennial. "If every label in 'Even Better Than the Real Thing,' the 81st installment of the Whitney Biennial, were peeled off the walls and tossed into the Hudson, what would happen?" asked Jackson Arn in the New Yorker. (He went on to suggest that the overall show would have been much better.)