#artists--makers

#artists--makers

In 2025, Dmae Lo Roberts embarked on a statewide storytelling experience focusing on personal stories from both artists and community members. These stories are a form of living oral history.

Ruinart has invited internationally renowned artists to artistically interpret the Maison since 2008, with this year's collaboration featuring Tadashi Kawamata's unique vision.

The first episode challenges Shakespeare's vision of a villainous Richard III, while a future episode will consider the Ross and Rachel of early modern history, Henry VIII and Anne Boleyn.

The Sanctuary of Dreams operates as a collective framework for imagining futures, developed within the universe of Toguna World to reactivate dreaming as a shared cultural practice rather than an individual act.

"We find beauty out of struggle and out of something broken," says the artist, emphasizing the importance of representing life in Brooklyn through the exhibit.

Craft is often defined as skill in making things by hand, but this interpretation is being challenged by AI. Craft transcends physical interaction; historical figures like Mozart and Beethoven exemplify mastery without traditional methods.

CoHo hasn't just survived, it has thrived and is ascending, and that is largely thanks to the foundation that Cuomo... laid with the young artists who have come up after him.

The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.

Studio NEiDA operates at the intersection of architectural practice, research, and curatorial work, focusing on how buildings emerge from the material and cultural conditions of a place.

"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."

Xinyu Hou designs for adaptation, working with the body as it actually behaves under stress, rather than how it is only expected to perform for an audience.

Oshatz worked on a monumental scale to represent underwater scenes, creating a full stage silk backdrop. He also designed hand painted silk waves that dancers moved across the stage.

The after-hours special showcase was first tested in January 2024 on the sidelines of the Africa Cup of Nations football tournament hosted and won by Cote d'Ivoire.

Censorship strips innocence from the young and kindness from the elderly. It discourages people from valuing justice, fostering selfishness instead.

Duchamp's 'Fountain' is the message that brings us the news. No longer was art judged by skill, craftsmanship, even beauty - it could be anything an artist called art.

Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.

There's a particular kind of panic that hits when you're facing a creative problem, and the well just feels... empty. Every idea seems stale. Every solution feels recycled. And the question creeps in: Have I finally used up all my good ideas? Maybe it's your third attempt at solving the same design problem, and every solution feels like a pale echo of something you've already tried. Or perhaps you've been churning out work for months, and suddenly the spark you used to rely on? Gone.

Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.

Jasper Johns seemed to reject the tortured, in-the-moment 'I' of Abstract Expressionism, ironically commenting on the heroism and spontaneity associated with Jackson Pollock and Willem de Kooning in his early work.

Geddis' sculptures evoke an enigmatic tension between identity and glyph, teetering between abstraction and figuration like retrofuturistic icons, reflecting his diverse cultural influences.

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.