#francis-roig

#francis-roig

Using artificial intelligence, researchers analyzed The Baptism of Christ at the microscopic level, looking for trends in the texture of the paint at the resolution of a single paintbrush bristle.

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.

'Give them a smile, you know, something that can also be a deeper level of understanding,' Sara Ricciardi tells designboom, framing the installation as an immediate emotional trigger before it unfolds into something more layered.

"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."

In the hushed, monastic cells of Florence's Museo di San Marco, Mark Rothko's canvases pulse with spiritual intensity. Rothko's paintings are a new arrival, part of the city's latest major exhibition.

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.

Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.

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.

The Reina Sofia's new rehang opens, quite pointedly, with a painting of a detained man sitting, head bowed and wrists shackled, as he waits for the arbitrary hand of institutional bureaucracy to decide his fate. The picture, Document No , was painted by Juan Genoves in 1975, the year Francisco Franco died and Spain began its transition to democracy after four decades of dictatorship.

The Long Beach Museum of Art is pleased to present Jux founder Robert Williams: Fearless Depictions, a survey exhibition featuring 57 paintings spanning from 2001 to the present, along with two large-scale sculptures by the iconic Southern California artist. Robert Williams ' epic, cartoon-inspired history paintings draw deeply from American vernacular culture and its visual slang, using concrete, relatable, and often absurd imagery to deliver sharp social commentary.

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.

MADRID - The most famous portrait of Maruja Mallo depicts the artist covered from head to toe in seaweed. She is crowned and draped with long, rope-like strands of kelp, her arms raised triumphantly like an all-powerful marine goddess. This unconventional photograph, snapped in 1945 by the poet Pablo Neruda on a Chilean beach, was no doubt carefully orchestrated by the Spanish artist, who viewed herself as an extension of her unique work, where female energy is a conduit for natural and even cosmic forces.

A new art fair with a distinctive approach and locale is joining the international art world for the spring calendar: Art Cologne Palma Mallorca. While Mallorca is often framed as an idyllic Mediterranean escape, it has quietly developed into a vibrant art hub, and the fair builds on that momentum, positioning the island as a crossroads for international and regional art scenes.

The artist is known for his absurdist paintings of animals with overly long legs, contorted bodies, or myriad mutant-like heads or limbs. They're often set amid woodlands or meadows evocative of 18th- and 19th-century academic landscape paintings or depictions of formal hunts. Instead, both domesticated and wild animals graze as normally as they would without dozens of heads or udders attached in unnatural places around their bodies.