#joi-chaney

#joi-chaney

Chad King, diagnosed with multiple sclerosis, has not let the disease hinder his music career. He continues to create and perform, showcasing resilience and determination.

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.

The video starts with Cher's son, Chaz Bono, who is transgender and recently got married. However, the video then changes to show a before photo of 'Jennifer Coolidge' as a man; that then morphs into a picture of Trace Lysette, who bears absolutely no resemblance to Coolidge whatsoever.

"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."

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.

In what became a standard studio visit, I discovered a humble and thoughtful artist who refuses to use her celebrity for easy career gains.

"The camera was being pointed in the mirror so you got an angle, and I was naked, because I was part of what they were doing. So that's how I got to do the selfies with the mirror."

The concert features 'Field of Sorrow,' a new work by Juhi Bansal, which sets translations of landays, women's poetry from Afghanistan, for soprano, cello, and piano.

All but one of the song titles on Body Sound, the debut album from experimental string trio Whitney Johnson, Lia Kohl, and Macie Stewart, line up nicely-a few words, usually two, usually nouns, separated by a vertical line. The straight line in the middle means different things in different disciplines. In computing, it's called a 'pipe' and serves as a conduit. In poetry, it denotes a pause or break. In music, it marks the beginning and end of measures.

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.'

Kyoung Chun's creative practice moves between painting and site-specific installation. Interactive works extend the language of painting beyond the canvas, inviting viewers into environments that challenge perception and encourage connection.

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.

Dolores Huerta's 1974 rally photo captures her in a United Farmworkers sweater vest, symbolizing activism and cultural identity, featured in 'Chicano Camera Culture.'

Wang was on the edge of 17 when she arrived at Nashville International Airport with her entire life packed into three suitcases and a carry-on. She had traveled all the way from Zhejiang, China, chasing a dream that would ultimately shape her future: studying music business at Belmont University. Now 26, Wang is an Artist Development Manager at Sony Music Entertainment.

The Lower East Side institution's OMA-designed, $82 million expansion debuted this week to mixed reviews, reflecting a range of opinions on its new look and functionality.

There is a scene in "Morgenkreis | Morning Circle" (2025), a 16-mm film by Berlin-based Palestinian artist Basma al-Sharif, that unfolds at the threshold of a daycare center. A young boy clings to his father, his fists locked into the fabric of his coat, his arms wrapped tightly around him. The father gently tries to pry himself free while a daycare worker crouches nearby, attempting to distract the child and coax him inside. It is an ordinary moment, one that anyone who has ever been a child - or cared for one - recognizes instantly, as well as the gut-wrenching feeling it provokes.

Last summer, I did face painting at a block party in my Brooklyn neighborhood. In the sweltering August humidity, I rendered pink butterflies and Spiderman webs on tiny, sticky faces; unsurprisingly, my designs didn't last very long in the bouncy castle. Except for the glitter. For weeks, I found it in my hair, on my cats, in my sink, and in random corners of the house, migrating to and fro like dandelion fuzz.

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.

"As I stood and looked at it on a drizzly gray day," John Yau writes of looking at a radiant painting by Edward Zutrau, "I forgot that it was raining." That's what art can do - stop you in your tracks, make you forget absolutely everything save for that essential encounter between you and the work.

In 2024, art collector Christian Levett opened Europe's first museum dedicated to women artists in a little town in the south of France. But for those of us who can't make the trip to the Femmes Artistes du Musée de Mougins (Female Artists of the Mougins Museum, or FAMM), the American Federation of the Arts (AFA) has arranged the next best thing: a blockbuster touring exhibition about women artists of the Abstract Expressionist movement, featuring some of the highlights of the FAMM collection.

Known most for her large-scale artworks created from vast, intricate networks of thread, she developed her unique practice to make tangible the endless speculative configurations of human connections - something to be experienced rather than defined. But by asking her to describe her new exhibition, Threads of Life at the Hayward Gallery, I'm dragging her back into a reductive world of language. "If I wanted to express myself in words, if I could explain in words, I'd rather write," she says. "So I want to build visually, and I want to create visually. What I want to describe is beyond words."