#diana-kim

#diana-kim

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.

The painting in question was gifted to the Inn's late founder Helmuth Deetjen by the late, celebrated local artist George Choley. This particular Choley painting had been in the same place since the 1980s, undisturbed, and a symbol of continued historic preservation.

Inframundo invites visitors to look inward and become a rock, drawing on the landscape shaped by cenotes, which are thought to be portals to the Maya underworld.

"Technology is both the remedy and the poison," artist Cao Fei quotes Bernard Stiegler, emphasizing the complex relationship between technological advancements and their impact on human practices.

I was childless into my early forties. By then, my partner and I noticed that a lot of our peers were at a similar crossroads: dog, cat, or kid?

In 2025, Dmae Lo Roberts embarked on a statewide storytelling experience focusing on personal stories from both artists and community members. These stories are a form of living oral history.

Tom Prochaska distinguished himself in many mediums: He was a masterful printmaker, an intuitive painter, a builder of papier-mâché figures, a creator of fused glass panels, and graphite-on-paper drawings.

The Olympus Perspective Playground operates as a fully built system, where walls, lighting rigs, circulation paths, and signage are developed together with each installation, creating a continuous spatial script.

Bunnylovr, which hit theaters April 10, 2026 via Utopia, is the kind of film that stays with you in the same slow, creeping way its protagonist Rebecca drifts through her own life.

"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.

"Most people don't stop to observe the crews' work or the infrastructure they uncover," Tentler-Krylov said. "But these unseen things keep the city going."

"At once naturalistic and highly symbolic, Egyptian art resonated with his enduring search for both monumentality and humanity," Bouvard said. "The opportunity to present his work within a setting of such profound historical and architectural significance offers a rare and compelling perspective on his oeuvre."

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.

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.

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.

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.'

In both places, there was a sense of energy building that was not yet fully visible. The experiences made me realize that, while sales totals and fair brands can serve as benchmarks of centrality, slower, structural transformations are taking place throughout Asia that merit closer attention.

"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.

This year's biennial isn't "weird," as so many others have called it, writes Aruna D'Souza in her review. It's beautiful, smart, charming, joyful, mournful, and it has a curatorial logic even without a theme.