#aj-highsmith

#aj-highsmith

"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."

"This festival, 'Embrace Winter,' is now in its 14th year. We've hosted several events throughout the season, and this is our final one. Today we're here celebrating art, culture and community all coming together."

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.

"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."

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.

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.

The Outsider Art Fair has enriched New York City's art world since its inception in 1993, presenting eclectic and idiosyncratic artists who challenge traditional fine art hierarchies.

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.

I work outside, carving and shaping the stone. Outside my house, I have a table, an extension cord, and tools. It's very cold and I have to wear all my winter clothes. When it's too cold, I do the filing and finishing work inside after I shape it outside. I listen to all kinds of music. I listen to Eminem all the time; his albums are all my favorites. For drawings, I work at Kinngait Studios or at home on my kitchen table.