#les-greene

#les-greene

"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."

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."

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 exhibition gathers several grid installations first developed in 1976, presented here through careful re-creations of historic works. Installed directly into corners, the luminous sculptures become a fixed part of the gallery as walls, ceilings, and floors receive light as an active condition. The atmosphere of each room shifts, all while remaining unified by the straightforward presence of the simple fluorescent fixtures.

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 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.

Mornings are best for concentrated work. In the winter, I turn on the heat at 8am and get started around 10am. Summer, I start around 9am. I have two areas in the studio for projects. The large, heavy wood sculptures are carved in the front section of the studio, closest to the roll-up wide door. Smaller sculptures are placed on a hydraulic workbench. Before I start, I focus, connect with the Source, and ask for guidance.

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.

"The four large-scale canvases that constitute the core of ' Misfits' maintain the fundamental elements of the artist's visual lexicon while radically reconfiguring compositional structure and spatial organization. These works advance a design freedom that is simultaneously forceful and controlled, achieving a balance between expressive intensity and formal restraint. As such, the series marks a decisive moment in Nuñez artistic evolution and possibly an initial step toward a more profound and transformative reorientation of his practice."

Six months before his momentous first trip to the United States, Joan Miró sent a letter to his New York City gallerist, Pierre Matisse. Writing from repressive Francoist Spain in the austere aftermath of the Second World War, the Catalan artist was searching for new frontiers. "In the future world, America, with its energy and vitality, must play a leading role," he told Matisse." I have to be in New York to be in direct, personal contact with your country; my work will benefit from that shock."

Modern Art is pleased to present Polygrapher, the first solo exhibition by Joseph Yaeger since announcing his representation by the gallery, and the inaugural exhibition at their Bennet Street gallery. Polygrapher denotes both the exhibition title and a text written by the artist, published in the exhibition's accompanying booklet. Taking the form of an interrogation the artist underwent attached to a Stoelting UltraScribe--and in which only the answers have been transcribed--it creates a framework for the experience of the subsequent paintings.

Marah Al-Za'anin, an 18-year-old Palestinian artist, has transformed a tent in Gaza City's Al-Rimal neighborhood into a studio. Al-Za'anin can't have been more than 15 or 16 years old when the genocide began, but she continues to pursue her passion for art and uses her brother's phone as a light source while she paints and draws late into the night. (photo by Saeed Jaras/Middle East Images/AFP via Getty Images)