#mark-blanco

#mark-blanco

When I finished art school, I thought I was going to do monumental sculpture, big works, and I did for a while. But what I started loving the most-actually always loved the most-was the start, where you figure out what you want to say.

Abraham Vazquez has this lusty, powerful, aching voice. This song is about loss, and you feel it with every inch of intensity that he's performing.

"The first step towards a cure is admitting you have a problem," artist Josh Kline writes, highlighting the inequities in New York City's real estate market and its impact on art.

I'm late for the school run. I'm stuck in traffic. I'm meant to be at my laptop, but I'm having to do it on my phone, in my car.

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.

All this to say that Alexander Whitley can harness the technology that so fascinates him, and equally importantly, that he fully understands, to enhance his primary vocation as a dance maker and produce bewitching work. Unfortunately, Mirror, and its companion piece The Rite of Spring, in the brand new double bill currently at Sadler's Wells East, proved major disappointments.

Drawing inspiration from Jen Beagin's novel 'Big Swiss,' the song encapsulates the humour, transgressions, and blurred boundaries that emerge when desire takes the reins. The sleepless nights of infatuation sharpen our perceptions of the mundane and often reveal more about ourselves than about the object of our fixation.

People all saw that there is something new is being attempted here that you've just got to see. I think that is its own reward. In an era where New York's storied Met Opera has faced layoffs, pay cuts, postponed productions, and a controversial financial agreement with Saudi Arabia, forward-thinking artistic direction becomes essential for survival.

The Eski.Sub draws inspiration from the visual language of Brutalist architecture and the cultural atmosphere of UK grime music scene. The project examines the relationship between design, urban context, and emotional listening experiences, positioning the loudspeaker as both an audio device and a spatial object.

The 2026 Whitney Biennial opened at the beginning of the month, providing a snapshot of current trends and curatorial interests in the art world.

This depicts Guernica after the battle. The figures are no longer fighting. They're in a giant pile. They're exhausted and there's a sunrise on a new day behind them. The title of the work is A Whole New World (for Who?). It's asking what's going to happen after the conflicts that we have. Who's going to be taken into that new world?

The Limited Space' series is built around the idea of a figure that has outgrown its space. Through exaggerated proportions and sculptural silhouettes, the body appears too large for the environment that continues to constrain it. Architectural elements and imposed barriers function as abstract limits, pressing against the figure and revealing tension through scale, weight, and posture rather than narrative.

As a child, I imagined a place far behind our own sky. A planet with its own weather, its own atmosphere, its own logic entirely. It was my own version of science fiction. How did it feel on this planet? Was it snowy, windy, or could you sense the first green breath of spring-I called it Planet Z.

Inside NYC-based artist Mark Dorf's project Late Pastoral, the ecological world is trapped in a rear-illuminated print. It's real - but something is off, it's been digitally altered, data-noise clutters images of glowing plant life. Shaped by the pervasive influence of technology, design and the rhythms of digital connectivity, even nature becomes at one with the unreal. Non-human nature is the main thesis of Mark's wide-spanning digital art works, offering reflections on our digital age.

Bendetta's latest single, "Headshot," captures the moment when something shifts: when violent thoughts arise, yet the urge to maintain control prevails. This track navigates themes of anger, boundaries, and the conscious decision to no longer absorb harm without letting it transform you into the one inflicting it. Rather than offering comfort or resolution, "Headshot" demands clarity: it focuses on naming feelings, standing firm within them, and refusing to downplay their significance.

"We Need to Talk About the Massively Hung Zombie," read a headline in Vulture.

I remember laughing so hard, largely because of how Gridley, so relaxed in her comedy, played Juliet as someone who made sense to herself, if no one else, and what did she care? Gridley's comedic stance-part purveyor of nonsense, part paragon of common sense-put her squarely in the tradition of amazing women like Imogene Coca, and "Mad TV" 's Debra Wilson, comedians who made mental pratfalls a thing.

I first saw Stalker in the mid-1980s. I grew up in a very rural community, but I had a group of friends who all wanted something that we couldn't really get where we lived. With film, that was a possibility. I'm in my fifties now. I keep trying to figure out what I'm doing as an artist and how to keep going.

Szilveszter Makó 's enigmatic photographs carry layers of mystery and introspection. Standing inside curious block-like backdrops and lain against two-dimensional fields of color and texture, his subjects seamlessly meld into stories in which every detail carries intention. Taking inspiration from art history, the Milan-based artist references Surrealism and grotesque art through his use of chiaroscuro effects via light exploration and contrasting earth tones.