#joanna-byrne

#joanna-byrne

"It's an amalgamation of the Chicago neighborhood aesthetic with a Bulls fan, quite literally. It's kind of on the nose, but that's how I juxtapose the elements of my work, with the structure of a home and then a figure who is around or in the home."

"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."

Laura Berger continues her explorations of communion in a suite of staggering paintings that place her signature minimal figures in intimate fellowship with one another and the earth.

"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."

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.

"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."

Poetry and artificial intelligence can appear as oppositesone deeply human; the other cold and mechanical. Sasha Stiles sees them as expressions of the same impulse. Poetry, the Kalmyk- American poet argues, is one of our most ancient and enduring technologies, a system of meter and rhyme invented to store vital information. She views AI as its natural heir. Stiles's path to AI began with literature, not code.

The 6th edition of Earth 2026 juried awards invites artists worldwide to explore and express the power, beauty, and resilience of our wounded planet as we approach World Earth Day.

"I have been reading your book The Lonely City: The Art of Being Alone and I wanted to write and say how very good it is," "I discovered Henry Darger's work about 15 years ago. I am so interested in how you write about him and [Edward] Hopper, [Andy] Warhol and [David] Wojnarowicz."

The Outsider Art Fair has enriched New York City's art world since its inception in 1993, presenting eclectic and idiosyncratic artists who challenge traditional fine art hierarchies.

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.

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.

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.

We tell ourselves stories in order to live. For more than 50 years, the French artist Sophie Calle has worked in the space between facts and their retelling, demonstrating how the narratives we share about ourselves are always partial, constructed. Working across photography, text, film and installation, she reveals how fantasy and projection intervene in our best attempts to see and be seen.

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.

Modern Art is pleased to present Polygrapher, the first solo exhibition by Joseph Yaeger since announcing his representation by the gallery, and the inaugural exhibition at their Bennet Street gallery. Polygrapher denotes both the exhibition title and a text written by the artist, published in the exhibition's accompanying booklet. Taking the form of an interrogation the artist underwent attached to a Stoelting UltraScribe--and in which only the answers have been transcribed--it creates a framework for the experience of the subsequent paintings.

CHICAGO - With her iconic long dark hair curtaining her demure countenance, Yoko Ono has been in my personal pantheon of women makers for most of my life. When I was a distraught teenager in a midwestern suburb, she was there - singing discordant arias from my bedroom stereo. Her siren call couldn't quite be deciphered, but, like a feminist signal from afar, it cut through the fog of oppressive cultural forces.

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.

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

For their most ambitious exhibition to date, Rae-Yen Song 宋瑞渊 transforms Tramway's vast exhibition hall into a submerged cosmology shaped by ancestral mythologies, Daoism, collective ritual and multispecies kinship. In this phantasmagoric aqueous environment⁠-the most recent project in Song's ongoing world-building practice⁠-life is understood as cyclical, relational and continuously in flux. Titled '*~TUA~* 大眼 *~MAK~*', the exhibition comprises newly commissioned works in sculpture, textiles, printmaking, sound, light and moving image,