#figures-and-shadows

#figures-and-shadows

"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."

A vision lay before him: Fleet Street blanketed with snow, silent, empty, pure white, and, at the end of it, the huge and majestic form of Saint Paul's Cathedral. It was a spellbinding moment: the great thoroughfare temporarily devoid of carts and carriages, the cathedral looming blurrily out of the still-falling snowflakes a real-life snow globe.

This project involved the reconstruction of a dilapidated building located in Guangzhou's old town along Tongfu Xi Road, a historic street established in 1926. Once vibrant, this area has suffered from significant neglect over the years, with many buildings falling into disrepair, creating safety hazards that forced both residents and businesses to leave.

Laura Berger continues her explorations of communion in a suite of staggering paintings that place her signature minimal figures in intimate fellowship with one another and the earth.

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 paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."

These water-women are beings of transformation, embodying sensuality, cosmic energy, and the transmission of matrilineal knowledge.

While being treated for a serious mental breakdown in 1940, Carrington passed her days by filling sketchbooks with art that reimagined the hospital as an 'underworld' inhabited by strange, hybrid beasts.

Before he was a filmmaker, David Lynch was a painter and, if you're familiar with his esoteric filmmaking practice - peppered as it is with some of cinema's most indelible imagery - it all makes a lot of sense. A year after the auteur's passing, a newly opened show at Pace Gallery's Berlin space, Die Tankestelle, foregrounds Lynch's career-spanning fine art practice and its inextricable link to his cinematic oeuvre.

Originally from Dallas and now based in New York City, I approach photography as an exercise in atmosphere, trust, and control. Trained in the discipline of film and later in fashion photography, I work with both natural and artificial light to construct images that feel cinematic and psychologically charged. Moving fluidly between studio and location, I transform spaces into environments that heighten mood and presence.

In 2024, art collector Christian Levett opened Europe's first museum dedicated to women artists in a little town in the south of France. But for those of us who can't make the trip to the Femmes Artistes du Musée de Mougins (Female Artists of the Mougins Museum, or FAMM), the American Federation of the Arts (AFA) has arranged the next best thing: a blockbuster touring exhibition about women artists of the Abstract Expressionist movement, featuring some of the highlights of the FAMM collection.

The studio is at my house within a ranch, surrounded by nature. It's on the second floor of the house, where there's better light. My routine all day shifts between studio work and housework, including outdoor garden work. I get up a bit before 7am, drink coffee in the yard, and get morning sunshine. Then my husband and I eat breakfast and do a bit of cleaning or some chores in the garden.

"Spirit is Life. It flows thru the death of me endlessly like a river unafraid of becoming the sea." -Gregory Corso ST. LOUIS - At 2,340 miles, the "mighty" Mississippi River borders no fewer than eight American states. Missouri is among them, where the city of St. Louis has been the site of both tenacious (and pugnacious) expansionist gusto and, in the wake of midcentury de-industrialization, precipitous decline.

Szilveszter Makó 's enigmatic photographs carry layers of mystery and introspection. Standing inside curious block-like backdrops and lain against two-dimensional fields of color and texture, his subjects seamlessly meld into stories in which every detail carries intention. Taking inspiration from art history, the Milan-based artist references Surrealism and grotesque art through his use of chiaroscuro effects via light exploration and contrasting earth tones.