Despite its fraught reputation, Pullman Yards is an excellent space for an art fair. Perhaps aware of the community concerns, the venue recently launched an , which was highlighted and promoted at the fair. The large industrial space hosted 75 local, national and international galleries and arts organisations, as well as a stage for AAF's popular . The fair's organisers and exhibitors seemed better acclimated to the space on their second outing.
There are new mixed media sculptures in your Blue Acid show. They combine 3D elements with 2D painted planes which are almost billboard-like presentations intermixed in the work in a novel way. How do you approach such a thing? One of the great things about making art is discovering something that sprang from seemingly nowhere. In retrospect it looks logical but in the moment it's an epiphany and suddenly it's exciting to explore it. My studio is across the street
A ticking clock, heavy breathing, the squeak of sneakers on the dance floor, and the voices of runners who came to the sport from unconventional backgrounds. These are the sounds that score choreographer Alyssa Mitchel's cast of dancers as they reinterpret what it means to push your body to its limits in Mitchel's new multimedia dance production, "Endure," at Dance Mission Theater, which has its first performance on Oct. 3.
Alyssa Mitchel presents the premiere of Endure, a multimedia dance production featuring a cast of six dancers along with graphic designs and animations by Zach Litoff. The work explores the physical and mental grit required to take on any marathon-like challenge. Through the stories of six marathon runners, the piece celebrates running while paying tribute to the enduring human spirit, with the intention of empowering audience members to persevere through difficult challenges.
A dead fish lies still on a chopping board, its rear end sliced off, scales scattered across the wood. One animated eye and open mouth make it look as though it might slither off the table. This is 's Fish Still Life (1950), a small, ghostly painting that is currently on show in Alice NeelStill Lifes and Street Scenes, a new exhibition at Xavier Hufkens in Brussels.
Emily Kam Kngwarray's rise to fame in the late 1980s and early 90s in her native Australia was swift and meteoric-but with it came enormous demand from dealers and others, some of whom took advantage of the artist and members of her community, according to the two curators behind Kngwarray's major solo exhibition currently at Tate Modern in London. The show was first presented at the National Gallery of Australia (NGA) in Canberra two years ago.
The production has revealed their digital rush policy and lottery: a limited of $48 lottery tickets will be available for each performance, with the lottery opening at 12 AM ET one day before each performance. Winners will be drawn at 10 AM ET and 3 PM ET one day prior to the performance. Ticket buyers are limited to two tickets per entry and one entry per person per day, and the number of tickets awarded by the lottery are subject to availability.
Comfort is central to the chair's conceptual design. The seat and backrest are imagined with high-density foam, wrapped in either premium fabric or leather upholstery available in a range of colors. This approach ensures that the concept delivers not only visual appeal but also a vision for supportive comfort from every angle. The upholstery options allow for further customization, so the chair could be tailored to complement a variety of interior styles.
The Royal Ballet opened its 2025/26 season with the first revival of Christopher Wheeldon's 2022 Like Water for Chocolate; and as season openers go, I can't think of many ballets that would offer an audience more bang for their buck. Bob Crowley's stunning, atmospheric designs, Joby Talbot's sweeping, narrative musical score, magical cookery recipes, rampaging revolutionaries, a vengeful ghost, and an extraordinary coup de theatre finale, all framing a life-long forbidden love affair, plunge the audience into a colourful, exotic, sunlit universe
The Angel Orensanz Foundation shimmered like a secular cathedral on Sept. 29th, when Project for Empty Space convened its fifteenth Badass Art Woman Awards. This was not a gala in the predictable sense. It was ritual, a liturgy of resilience, a convocation of women who have made it their life's work to cultivate beauty, sustain truth, and preserve the radical power of art in a world increasingly hostile to difference.
The gradual gentrification of Britain's creative industries is a matter of record and an all too familiar theme. The alarm has repeatedly been sounded in recent years by senior figures in the arts. In 2022, Mark Rylance memorably questioned a distribution of cultural resources in which England's most famous public school enjoys the luxury of two theatres, while arts education is relentlessly downgraded in the state sector.
Jessica Monette: Root Me in the Soil-Jessica Monette's installation, the second Project Room exhibition at the de Saisset, will explore familial memory, presence and absence, and place. Free. Reception Oct 2; runs until June 13, 2026. de Saisset Museum, Santa Clara University, 500 El Camino Real, Santa Clara. scu.edu/desaisset Fri, Oct 3 The Art of Murder-The Pear Theatre opens its 24th season-dubbed Hidden Truths-with a play by Joe DiPietro.
There is a lot happening at the de Young this month. The " Art of Manga " opened last weekend. Mission Local wrote about four fans or experts who caught the manga mania. "It's the future visual language," said the curator Nicole Coolidge Rousmaniere. "Manga is already in textbooks in Japan. The images are carrying the content. It goes to another part of your brain. At the end of the exhibition, you will be fluent in manga."
Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture-including football equipment, peacock chairs, lowriders and butterflies-Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their interpreted meaning. The exhibition's title comes from Gil Scott-Heron's spoken word poem Comment #1 (1970), which earnestly describes the violence of racial and social inequality in America during that time.
As a Japanese man born and raised in the United States, Kitamura said he struggled with imposter syndrome. Though he was part of a Japanese tattoo family, apprenticed to a Japanese tattoo master, and works with primarily Japanese-American clients, he worried that his own style was Americanized compared to the traditions he was studying. Now, nearly 29 years into his own practice as a tattoo artist (Kitamura opened his own studio, State of Grace Tattoo, in 2002 in San Jose) he feels "This is me accepting who I am and being proud of that," he said.
He lives up to the task. What is literally built around him is gorgeous. Rae Smith's set changes from a beautiful drawing room to a flamboyant garden to a dramatic reception room, marble statues and all. The costumes, too, also designed by Smith, are increasingly fabulous, none more so than Lady Bracknell's billowing skirts and sparkling jewellery. Jack and Algernon look, in every outfit, like they are straight off the red carpet at the Met Gala.
For me October has always been one of the most exciting times to be in London. The Frieze art fair draws artists, collectors and curators from around the world, not only to see great art, but to experience London at its best. It reminds me why London is so special: it is a city where different ideas, people and cultures can come together from around the globe to create something truly unique.
"In those years, I stayed in the George V [hotel] in Paris. I went to New York first class. I really had a great time spending that money," he tells Katie Byrne on the latest episode of the Money Talks podcast "I loved it, but I spent it with the faith that there'd be more money. I was never going to sit on a suitcase of money out of fear."
And yet, not a century earlier, that name was near unknown to anyone who knew anything about the history of painting in France. In fact, it was a German art historian with prodigious visual recall, Hermann Voss, who in 1915 thought to connect two paintings in the Nantes Museum of Fine Arts (respectively signed "GS. de La Tour" and "G. de La Tour") with an unsigned canvas, titled Newborn Child, in Rennes.
There is an inherent tension present from the opening pages of Wendy Hitchmough's new biography, Vanessa Bell: The Life and Art of a Bloomsbury Radical. As Hitchmough explains, Bell (1879-1961) was doing dynamic work as both an artist and a designer in the first half of the 20th century, an era when women making inroads into either world was rare.
Deepening relationships with private collectors and cultural institutions, shaping the conditions for galleries to grow, and cultivating the audiences of tomorrow are all critical to our role and to the wider ecosystem we support.
Ice Breaker is Erik Parker's second solo exhibition at VETA by Fer Francés, holding a new body of work created specifically for this occasion. In this new project, the artist expands his distinctive visual language-rooted in Pop Art, the underground movement, and the American psychedelic subculture-into a series that is at once hallucinatory and precise. His still lifes introduce new spatial dynamics: bricks and their shadows defy logical light sources, producing a disorienting effect that steers the viewer into a heightened, almost psychedelic state.
Street art thrives on scale, spontaneity, and public interaction, but two of its most recognized names, Francesco Camillo Giorgino (known as Millo) and Julien Malland (better known as Seth Globepainter), are proving that its magic can be just as powerful indoors. Together, the pair has launched Beyond, a collaborative exhibition that brings their mural practices into a gallery setting while maintaining the playful, immersive qualities that made them global icons in the first place.
At its core, NO PARKING is about presence through absence. While no human figures are depicted, the works are rich with the suggestion of workers, commuters, and residents whose lives intersect in the city's dense, chaotic streets. Each vehicle becomes a portrait - not of a person's face, but of their story, their routine, and their resilience. Burned vans and scorched sports cars hint at destruction and renewal, while RVs and idle food trucks evoke themes of mobility, survival, and urban transience.
Well, it appears that fall has officially, um, fallen, which means the weather must be getting warmer. I do so love the Bay Area's many micro-climates. They've both hastened and deterred my potentially freezing to death in the cheap Sunset room where I've been staying. Makes me all the more eager to get out of the house. Fortunately, Bay Area theatre provides plenty of incentive to get out and about during the coming months.
Save the date! After gracing the other side of the pond with a New York City Nicer Tuesdays event and the continued sold-out successes of Nicer Tuesdays in London, It's Nice That will be launching our first ever Nicer Tuesdays talk event in Los Angeles on 4 November 2025 at The Nimoy Theater. We'll be bringing everything that makes this an unmissable event to California's buzzing cultural hub.
Firebird, described as a 'hypnotic, genre-defying visual arts performance' uses 500 recycled car taillights to create an orchestra of light. The open-air light experience will blend with music inspired by Stravinsky's Firebird Suite. The project by Amsterdam-based artist collective Touki Delphine is making its New York City debut on October 3-4 at the Governors Island Parade Ground. Tickets are on sale now for $20 (plus ferry transit, which you've got to coordinate on your own).
Casting has been revealed for the upcoming site-specific staging of Morgan Lloyd Malcolm's The Wasp. The Olivier Award-winning playwright's psychological thriller will be performed in a private loft in NYC's Financial District, with performances running October 23-November 15. Rory McGregor is at the helm.
