#mark-seaton

#mark-seaton

Art UK has taken it as its mission to digitally unite one million artworks from 3,500 institutions. This free-to-all portal connects everyone with the UK's public art collections.

"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."

Around the Sign o' the Times album he called to say he was joining Prince's band, and said: I'm gonna take you with me. He showed Prince some of my artwork, which he apparently liked. I was asked to paint a stage for him that was the first job I did, and one day he asked: Have you ever taken photos? I was in the right place at the right time.

The first-ever exhibition devoted to the seascapes of French painter Georges Seurat brings together the largest group of these works ever assembled, 26 in total, offering a detailed look at a significant part of Seurat's work.

Jasper Johns seemed to reject the tortured, in-the-moment 'I' of Abstract Expressionism, ironically commenting on the heroism and spontaneity associated with Jackson Pollock and Willem de Kooning in his early work.

"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.

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.

"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."

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.

Alexander Basil has created a cosmos. His instantly recognizable style and established color palette implicate the subject matter in a process of calm and sure scrutiny. Central to this cage is the familiar figure that reappears, on a quest through daily life. The protagonist is both the subject and object of reflection that morphs in and with his surroundings, travelling worlds beyond the room he finds himself in.

In many ways working in the tradition of Kazimir Malevich and Josef Albers, his compositions employ a language of squares and rectangles known as "Cells" and "Prisons," connected by bold lines called "Conduits." Together, these geometric and linear arrangements tap into the inherent geometry that structure reality, and conceptually refer to the construction of everyday life, both public and private as well as physical and psychological.

The RA is led by leading artists and architects, with the UK's oldest-and, crucially, free-art school at its heart. The opportunity to shape the RA's artistic programme and respond to its extraordinary gallery spaces, as well as launching the expanded Collection Gallery, is tremendously exciting.

Tate Modern museum in London announced its slate of 2027 exhibitions, including an opera-inspired installation by David Hockney in the revered Turbine Hall marking the artist's 90th birthday, Algerian artist Baya's debut U.K. solo show, and the first-ever exhibition devoted entirely to French impressionist Claude Monet since the Tate Modern opened 26 years ago.

Dealers like artists with established sales records because it lowers their already considerable financial exposure. Renting a gallery space in Tribeca costs anywhere between $8,000-30,000 a month on top of staff, marketing, and daily operations. With that kind of overhead, very few business owners can afford to take on the financial risk of untested artists.

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.

In the story of art history-the art and artists, movements and trends-a select number of galleries have played a defining role in the evolution and trajectory of art itself. Among them, the Mayor Gallery in London is surely one, as it has maintained a position fostering and promoting some of the most significant developments in art for an astounding 100 years.

It's not that advertising campaigns are never announced, but when they are, it's usually in advertising trade magazines, and generally by the agency that did the work. The client doesn't normally issue a press release that essentially says, "We are putting up some posters." Yet that is exactly what the Tate has done, issuing a general announcement that it will run an advertising campaign for its upcoming Tracey Emin exhibition.

One of Vija Celmins's wonderful Night Sky works. Maybe one of her charcoal drawings of the cosmos, with a comet flaring across the surface. She conjures up such immensity, and such intimacy, with countless tiny points of light shining out of the darkness. Which cultural experience changed the way you see the world? In a word, Paris. After I left school, I spent several weeks working in Paris and discovered the pleasures of looking, on my own, for myself.

CONDO WEEKEND BEGAN in the same way that all good British rom-coms, or Martin Amis novels, do: walking against the wind, en route to an oversize redbrick Victorian house in Earls Court, a spot that my press invitation had unabashedly advertised as being located in Notting Hill, but is an easy two tube stops away. This was the "standing" dinner to celebrate Arash Nassiri's "A Bug's Life," newly open at Chisenhale Gallery, in a renowned collector's home.

The Washington Post has laid off Pulitzer Prize-winning art critic Sebastian Smee and made sweeping employee cuts across its Arts section in what's been described as a "bloodbath" at the Jeff Bezos-owned paper. All of the paper's staff photographers were also eliminated, raising questions about the future of the paper's visual strategy. Staffers began receiving layoff notices on Wednesday, February 4, after weeks of rumors of a mass downsizing.