#sarah-carroll

#sarah-carroll

"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 hardest thing for both of us was losing home-the place you go that's safe, that provides comfort," Reilly says. The emotional toll was immediate, but the material losses were staggering in their own right: 'I lost the craziest archive of fashion and notes from Karl Lagerfeld'-pieces that, by their nature, are irreplaceable.

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.

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 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."

"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."

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.

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.

In the midst of the fabulous The Winter Show last weekwhere connoisseurship, collecting, and cultivated taste converge under one vaulted roofthere was a moment of pause, exhale, and recalibration at the heart of the fair: the VIP Collectors Lounge. This year, not as sponsorship, but as philosophy made spatial. It was titled The Modern Salon. Conceived and designed by frenchCALIFORNIA, The Modern Salon rejected the trade-fair instinct toward visual noise and brand fragmentation.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

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.

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.)

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"

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.