#contemporary-commissions

#contemporary-commissions

"It's a really special spot. When you start at the top and move down the gently sloped ramp, you almost feel like a marble tumbling down, looking at art as you roll by. The slight slant plays with your sense of perspective and grounding."

The entire indoor journey, from entry to elevator to the 100th floor, has been reimagined as a multi-sensory, immersive environment. The overhaul comes via a collaboration between experiential design firm Journey, multimedia studio Moment Factory and NYC-based design outfit SOFTlab.

Carter Shocket stated, 'They kind of felt like they happened and then they were over, like it wasn't a long-lasting kind of project. It was just a flash-in-the-pan kind of thing.'

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 work of such artists as Jackson Pollock, Mark Rothko, and Willem de Kooning wound up as part of a secret CIA program during the height of the Cold War, aimed at promoting American ideals abroad.

Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.

"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.

George Costakis spent three decades hunting down, and saving, thousands of Russian and Soviet avant-garde works of art-at a time when they were hidden, vilified by the state and at risk of disappearing into history.

The Duchamp exhibition at MoMA is encyclopedic, thought-provoking, and sometimes surprising. It spans the entire sixth floor and invites viewers to engage deeply with his work.

KAWS has shown an uncanny ability to connect with a wide variety of people. Younger buyers clamor for his $50 Uniqlo T-shirts, while trophy-hunting collectors shell out millions for paintings.

A new report found that museums and cultural centers founded and led by people of color in the Northeast face severe staffing shortages, with over a third of responding institutions lacking a single full-time employee.

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.

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.

Stephen Friedman was overdue filing when he went into liquidation on 2 February, closing his London gallery immediately (his New York venue shuttered around the same date). At the time of writing, invoices remain unpaid and artists unable to retrieve works from storage companies. In a statement, Friedman says 'all matters are now subject to the administrator's consideration'.