#christine-sun-kim

#christine-sun-kim

"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."

The concert features 'Field of Sorrow,' a new work by Juhi Bansal, which sets translations of landays, women's poetry from Afghanistan, for soprano, cello, and piano.

It's rare for interpreters' cultural background to reflect the music itself, says AV Vilavong, a Deaf concert interpreter who performs at major music festivals across the country. "The fact that Celimar is Puerto Rican, there are cultural nuances that are already embedded in how she, as a Deaf interpreter, will match the tone, the cultural aspects, the songs, the significance behind the slang for particular vocabulary," Vilavong says through an interpeter. "It's embedded in who she is as an individual."

He then lowered his fists, extended his thumbs and little fingers, and moved them up and down by his chest, as though milking a cow. Finally, he laid the fingers of one hand flat on his chin and flexed his wrist forward. Hartwell, who has no hearing problems, had just used BSL, British Sign Language, to order his morning latte with normal milk at the deaf-run Dialogue Cafe, based at the University of East London.

When I was growing up, people liked to join. People joined churches or clubs or dance groups or singing groups. Those still exist, but their membership has quite declined. People just don't want to join anymore. It's certainly down from the '50s and '60s. And before, if you got on the bus you could say hello to everyone. Now, if you did that, they'd rush you off to the looney bin. It's a sad state of affairs.

Wang was on the edge of 17 when she arrived at Nashville International Airport with her entire life packed into three suitcases and a carry-on. She had traveled all the way from Zhejiang, China, chasing a dream that would ultimately shape her future: studying music business at Belmont University. Now 26, Wang is an Artist Development Manager at Sony Music Entertainment.

Going out and demonstrating is really important. But if you don't feel comfortable demonstrating, you can volunteer for organizations, you can donate to organizations, you can sign petitions, you can call your senator. There's no excuse not to be involved on some level.

We've been waiting to get a show of our own for such a long time, says Heroda Berhane, one half of the deaf identical twin presenting duo, Hermon and Heroda. People have never seen our culture, our identity, the way we discuss the things. So it's a dating show, yes, but it's not just about dating; it's also revealing our identity and our culture, and that has never been seen before.

Moni Haworth directed the video for "Dirty Tech," in which the Sonic Youth legend hangs in an empty corporate office dotted with bits of office clutter.

As AI continues to reshape our understanding of reality, ownership, and storytelling, how do artists and technologists navigate this new landscape? Earth Oracle brings together diverse perspectives to discuss the tools, ethics, and potential of our digital future. The evening will begin with a special presentation by artist Delphine Diallo, followed by a panel discussion featuring Clarisse Neu (Google DeepMind) and Patricia Buffa (Adobe).

The electronic musical composition draws on field recordings of local wildlife and environmental phenomena, sourced from archival materials along with new recordings made specifically for the installation. By transporting the sounds of the lake's ecosystem into an urban park setting, Eliasson foregrounds the fragile interdependence between human and more-than-human life, rendering audible what is increasingly at risk of vanishing.

San Jose is hosting Invisible Skies, a free flash art event set for January 31, 2026, at City Hall on East Santa Clara Street in Downtown San Jose. Umbrella distribution starts at 5:30 PM, with the main activity kicking off at 6:30 PM once the sky darkens. This gathering will turn the plaza into a canvas for communal creativity, open to all ages and designed to last about two hours.

We tell ourselves stories in order to live. For more than 50 years, the French artist Sophie Calle has worked in the space between facts and their retelling, demonstrating how the narratives we share about ourselves are always partial, constructed. Working across photography, text, film and installation, she reveals how fantasy and projection intervene in our best attempts to see and be seen.

The only thing most people know about epiphytes, if they know about them at all, is that they're rootless. That's not quite true - they develop highly specialized root systems adapted to wherever they land. In Epiphytic Elucidations at Patel Brown Gallery, Calgary-based artist Marigold Santos takes this fact as more than a metaphor. The exhibition uses epiphytes - plants that grow on other plants without harming them - as a framework for the expansive ways diasporas form through material labor.

In the language of climate, water is dialectical: It is overabundance and scarcity; needed as well as dreaded. Psychologically, it can represent the unconscious, the maternal, the prelapsarian. Artist Deborah Jack disrupts any viewer's impulse to find recreational soothing in the ocean's tidal landscape, as she openly critiques the legitimacy of cartography, empire, and ecological adaptation. Jack's six-channel video installation "a sea desalts, creeping in the collapse... in the expanse...a rhizome looks for reason... whispers an elegy instead"

Tara Donovan presents Stratagems at the Institute of Contemporary Art San Francisco (ICA SF), at the Transamerica Pyramid Center, installing a group of vertically oriented sculptures made entirely from thousands of recycled CDs. On view until July 31st, 2026, the exhibition is installed within the transparent Annex space. Stratagems enters into a deliberate exchange with the Transamerica Pyramid itself. The sculptures echo the skyscraper's verticality and reflective skin, while their recycled material introduces a counterpoint to the monumentality of the building.

And at Santa Clara's Triton Museum of Art, there's not one but four exhibits opening in January, ranging from slashed-and-bleached abstractions to uncanny paintings of suburbia that hearken to Edward Hopper and David Lynch. That latter show, opening Jan. 10, comes from South Bay artist Jonathan Crow who grew to fame with drawings of U.S. vice presidents wearing octopuses on their heads.

Artist Ayelet Gal-On does not just paint; she builds, layering oil, acrylic and plaster on canvas. Gal-On's signature subjects for "Taken by the Wind, Swept by the Light," her upcoming solo exhibition at Gallery 9 in Los Altos, are white dresses that appear to hang on a line, defying the stillness of the canvas. "I love the process of playing with color," says the artist.