Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.
The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.
Oshatz worked on a monumental scale to represent underwater scenes, creating a full stage silk backdrop. He also designed hand painted silk waves that dancers moved across the stage.
"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."
Every terrible thing always begins in the prettiest weather. Cruelty loves a clear sky. . . . Every war starts on a perfect day. This opening number from Diane Severin Nguyen's War Songs captured the paradox of experiencing extraordinary art and cultural vitality while geopolitical crises unfold, setting the tone for the week's contradictions.
The Long Beach Museum of Art is pleased to present Jux founder Robert Williams: Fearless Depictions, a survey exhibition featuring 57 paintings spanning from 2001 to the present, along with two large-scale sculptures by the iconic Southern California artist. Robert Williams ' epic, cartoon-inspired history paintings draw deeply from American vernacular culture and its visual slang, using concrete, relatable, and often absurd imagery to deliver sharp social commentary.
I appreciate the migrant story and the labour connection. They matter too. Period. Martinez was awarded the Frieze Impact Prize in 2023 for his work using discarded produce boxes collected from grocery stores, often depicting himself, family or friends, drawing from his experience picking apples, asparagus and cherries in Washington State to fund his art education.
I'm looking forward to fellowshipping with fellow art enthusiasts and seeing ambitious work from galleries around the world. I'm especially excited for the Collector X Dinner, which always brings together some of the most thoughtful voices in the art and business community.
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.
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.
One recent weekday morning, the British painter Peter Doig arrived at a bonded warehouse-a cavernous brick building-about a mile south of the River Thames, but not subject to the import taxes of the United Kingdom. He buzzed through security and entered a windowless white room, where he settled in for a long day. Awaiting him were a series of etching prints that had been brought over from the United States to be signed by Doig before being put up for sale.
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