#molly-kochan

#molly-kochan

"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."

The documentary, created by Dr. Igea Troiani, Dr. Mamuna Iqbal, artist and researcher Paula Roush, and filmmaker Rime Tsujino, brings visibility to the experiences of six architects of South Asian origin.

Maira Kalman painted a vase exploding with flowers, capturing the anticipatory air the season brings. She cited Gustav Mahler's 'Das Lied von der Erde' ('The Song of the Earth') as her inspiration: 'Dark is life. Spring is here. The birds are singing.' What more do we need to know?

"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."

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.

Today marks a defining moment for the rising star, singer-songwriter, and performance artist Molly Mogul as she unveils her new single "Run," offering a tantalising taste of her forthcoming debut album set to drop this spring. This track serves as an invitation into a vibrant new chapter for the German artist, featuring an entrancing blend of pop, experimental soundscapes, and movement-based storytelling.

You are leaving work, your suit still damp from the morning's downpour, the skin on your palms peeling. You are clutching two supermarket bags, tins of cream soup and tuna knocking against one another. The rain is hard and your anorak is cheap. You are on your way to Stockbridge, to your parents' house, which only your father inhabits now that your mother is gone.

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.

Ong's work contains a deep reverence for the otherworldly, combining the remnants of ancestral knowledge with speculative visions to form a kind of personal myth-making. The title of their latest series, "Always Were", is intentionally fragmentary suggesting a temporal and grammatical ambiguity that points to the liminal nature of Ong's figures and the time and place they inhabit.

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.

Raw Material: The Art and Life of Susan Kleckner, on view at Haverford College's Cantor Fitzgerald Gallery through April 5, 2026, is the first comprehensive retrospective of the pioneering feminist artist, filmmaker, photographer, and performance artist. Bringing together nearly 100 works, many never before publicly exhibited, the exhibition seeks to reposition Kleckner as a foundational figure in feminist, queer, and activist art histories.

In 2024, I made a vow to never base my art criticism on wall labels. My decision came after reading reactions to that year's Whitney Biennial. "If every label in 'Even Better Than the Real Thing,' the 81st installment of the Whitney Biennial, were peeled off the walls and tossed into the Hudson, what would happen?" asked Jackson Arn in the New Yorker. (He went on to suggest that the overall show would have been much better.)

Kathleen Goncharov, a longtime curator who served as the United States Commissioner for the 50th Venice Biennale, has died at the age of 73. The news of her passing was announced by a group of friends and her partner, poet and artist Charles Doria. She died of natural causes in her Boca Raton home on New Year's Eve. Goncharov is remembered as a doting friend, a champion of artists, and a gifted and intuitive curator.

Taking over the museum's transformed school building starting April 16, the cross-borough survey will celebrate MoMA PS1's 50th anniversary with a bevy of site-specific installations, new commissions, and rarely seen work by 53 artists and collectives living and working across New York City. A complete list of participants is included at the end of this article. This year, Greater New York will coincide with the Whitney Biennial for the first time in the show's history.

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 Brooklyn-based artist is formally trained as a painter and self-taught as a ceramicist, and she fuses the two modes of working into a complementary practice. Hier begins by sculpting a wide range of forms, and after several rounds of firing with both handmade and commercially available glazes, she adds a painting. The pairings arise intuitively, sometimes through free association, trial and error, or by homing in on a color.