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.
The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.
When I started, there was no art coverage in the news magazines and there was no regular coverage, even in Time ... Contemporary art, particularly, was considered a ridiculous and foolish aberration. It didn't have anything to do with art, according to a lot of people.
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.
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.
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.)
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.
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)
In the language of climate, water is dialectical: It is overabundance and scarcity; needed as well as dreaded. Psychologically, it can represent the unconscious, the maternal, the prelapsarian. Artist Deborah Jack disrupts any viewer's impulse to find recreational soothing in the ocean's tidal landscape, as she openly critiques the legitimacy of cartography, empire, and ecological adaptation. Jack's six-channel video installation "a sea desalts, creeping in the collapse... in the expanse...a rhizome looks for reason... whispers an elegy instead"
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.
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.
