#tim-binder

#tim-binder

"It's a really special spot. When you start at the top and move down the gently sloped ramp, you almost feel like a marble tumbling down, looking at art as you roll by. The slight slant plays with your sense of perspective and grounding."

Carter Shocket stated, 'They kind of felt like they happened and then they were over, like it wasn't a long-lasting kind of project. It was just a flash-in-the-pan kind of thing.'

Bondi's official DOJ portrait was reportedly spotted in the trash mere minutes after Donald Trump gave her the boot. Just straight to the bin, like last week's takeout and this week's credibility.

"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."

KAWS has shown an uncanny ability to connect with a wide variety of people. Younger buyers clamor for his $50 Uniqlo T-shirts, while trophy-hunting collectors shell out millions for paintings.

"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."

Opening April 10, Keith Haring: On the Street marks the first time his painted 1963 Buick Special and 1983 Range Rover will be shown together in Manhattan.

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.

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.

Hong Kong's particular and seductive Metabolist city planning is an ode to consumption as a great totalizer of culture, and to contemporary art as merely a niche commodity form among many others.

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

Bassman's photographs, in fact, looked more like illustrations. She achieved this effect through darkroom experimentation and manipulation: donning a cardboard mask with a pinhole aperture, she selectively exposed portions of the paper to light, tracing the contours of the garments until they seemed to dissolve into atmosphere.

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.