#kyla-johnson-trammel

#kyla-johnson-trammel

"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."

I create sculptural hairstyles using my natural hair as a material. I add some extensions, and shape it with thread and wire. A sculpture can take me from 30 minutes to more than six hours.

"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."

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.

Tonika Lewis Johnson's Folded Map Project connects residents known as 'map twins' who live on the same street name but miles apart, revealing structural inequality and personal commonality.

I thought this could be a cool opportunity to make a movie, a family movie where everyone can have fun and learn about different cultures. Coming up, I'm Blasian. My mom is half Korean and half Black, but I grew up in a Black household. My kids' mom is full Korean, so I've experienced both sides. And I don't know many films that really show that.

In honor of the 100th anniversary of the painter and multimedia artist's birth, the Robert Rauschenberg Foundation is presenting a one-time award of $100,000 to four artists. Senga Nengudi won the Rauschenberg Centennial Award for visual art, David Thomson for performance, Chandra McCormick and Keith Calhoun for photography, and Patricia Spears Jones for writing.

Ong's work contains a deep reverence for the otherworldly, combining the remnants of ancestral knowledge with speculative visions to form a kind of personal myth-making. The title of their latest series, "Always Were", is intentionally fragmentary suggesting a temporal and grammatical ambiguity that points to the liminal nature of Ong's figures and the time and place they inhabit.

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.

Many of these posters are the only surviving proof of certain shows, with no recordings of plays, and certain films, having been lost over time. They offer a history of Black Americans trying to counter harmful stereotypes and provide vital and humanizing contributions to a growing Black culture.

We were supposed to be Frieze's special guests. And we feel like we're being censored, racially profiled and discriminated against. Having worked with the fair for five years, she says she will not continue beyond this weekend.

Each artist functions almost as a musical key signature of their own, which together 'refuse the orchestral bombast and goose-step military marches and come alive in the quiet tones, the lower frequencies.' That description comes from Rasha Salti, one of the exhibition advisors who spoke at yesterday's announcement of the roster. It's an apt invitation to think of curation as an act of composition, with Kouoh's vision singing at every turn.

Driskell started collecting in 1955 after taking a position as an art professor at Talladega College. As he explained in a 2017 lecture at the Whitney Museum of American Art, he put aside a small budget for art each year from his beginning salary of $3,000.

Raw Material: The Art and Life of Susan Kleckner, on view at Haverford College's Cantor Fitzgerald Gallery through April 5, 2026, is the first comprehensive retrospective of the pioneering feminist artist, filmmaker, photographer, and performance artist. Bringing together nearly 100 works, many never before publicly exhibited, the exhibition seeks to reposition Kleckner as a foundational figure in feminist, queer, and activist art histories.

At a moment when global progress demands bold and decisive action, the 2026 Women of the Year remind us that individual leadership remains one of the most powerful catalysts for change. Sherald is best known for her official portrait of former First Lady Michelle Obama, renowned for her signature combination of grisaille skin tones and colorful, fashionable attire.

A repeated gesture is a way of making something gigantic. When Art Production Fund approached her to imagine a work for the three-acre turf field at the Santa Monica airport during Frieze, her mind went to performance. To activate the synthetic green space, she realised she needed to create something that engaged both the physical conditions of the site and the temporary context of the fair.

While taking a break from her musical career, Tifrere founded the nonprofit organisations ArtLeadHER and Art Genesis in 2016. ArtLeadHER provides visual-arts education and exhibition opportunities to women and teenage girls, while Art Genesis helps organise shows for emerging and underrepresented artists.

We're just a week away from Frieze LA, when East Coast dealers and local artists alike descend upon the Santa Monica Airport, but this isn't Renée Reizman's first rodeo. Since the critic and artist moved to the area almost 15 years ago, she's witnessed blue-chip New York galleries set up shop and sideline the irreverent, DIY spaces that shape the local art scene. Without these spaces, Reizman writes, she would not have discovered what art can be outside of the white cube.

According to a BMA spokesperson reached by Hyperallergic, attendance stood at 63,000 as of Monday, February 9, and is expected to peak at 75,000 by the time the show closes on April 5. That makes Sherald's mid-career survey the museum's most-attended show since 2000 - a remarkable feat considering that the BMA was not an original destination on American Sublime's itinerary.

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,