#hannah-wickstrom

#hannah-wickstrom

"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."

I wanted to be a great artist, not in the slang use of 'great,' but fantastic—reaching the soul of other people. This ambition drove Pat Steir throughout her life.

"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."

Hong Kong's particular and seductive Metabolist city planning is an ode to consumption as a great totalizer of culture, and to contemporary art as merely a niche commodity form among many others.

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 visual and chemical properties of the pigment Prussian Blue function as a metaphorical anchor, tying together a cast of watchful female figures within Huitema's hazy, dreamlike worlds.

Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.

Printed in both color and black and white, images of dancers and friends took the form of abstract portraits, movement series, and pseudo-stop-motion, featuring local artists including Sophia Ahmed, Muffie Delgado-Connelly, Kenny Frechette, Takahuro Yamamoto, Emily Jones, Allie Hankins, performances by Lu Yim, and others. Layered, dark, and moody self-portraits of Krafcik from 2025 also plastered a dark-painted wall opposite some of the other images.

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.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

Last fall, I bought a ton of marble scraps off a sculptor in Woodstock for like, $10 off Facebook. For sandwiches and cakes, crumbling asphalt parking lots are good. When I lived in Sunset Park, they demolished a building a couple blocks from my apartment, and there was a hole in the fence, so I'd go in there and find tons of cool shapes and textures of rubble.

With 70-plus shows, it's all you need to know about the major art happenings of the season. There's something in it for everyone, from the ancient to the futuristic. Above all, this is a love letter to our city, where art never sleeps.

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.)

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.

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.

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.

This sprawling installation (or in the New York gallery's parlance, "spatial collage") had transformed the Wooster Street space into a warren of rooms and hallways that resembled a series of stage or film sets, including a "clandestine drug lab," a Chinatown basement store, and a pirate radio station. I gingerly navigated through half-destroyed walls and over uneven floors strewn with detritus, escaping with vivid memories of one of the strangest contemporary art experiences to be had in those years.

Karina Lumiere paints like someone who trusts color more than language. Her work does not whisper its intentions. It glows, pulses, seduces. This is abstraction born not from theory, but from devotiondevotion to intuition, to sensation, to the unapologetic power of hue as an emotional instrument. Her path to abstract expressionism was never academic. It unfolded in solitude, shaped by meditation and spiritual practice, where listening became more important than learning and presence eclipsed instruction.