#de-anna-lynn-johnson

#de-anna-lynn-johnson

Tom Prochaska distinguished himself in many mediums: He was a masterful printmaker, an intuitive painter, a builder of papier-mâché figures, a creator of fused glass panels, and graphite-on-paper drawings.

"Once open, Lumana will support new generations of artists, designers, and the institutions that champion them. It felt fitting that the work of the great Modernist artists I deeply admire could continue to uplift those following in their footsteps."

All but one of the song titles on Body Sound, the debut album from experimental string trio Whitney Johnson, Lia Kohl, and Macie Stewart, line up nicely-a few words, usually two, usually nouns, separated by a vertical line. The straight line in the middle means different things in different disciplines. In computing, it's called a 'pipe' and serves as a conduit. In poetry, it denotes a pause or break. In music, it marks the beginning and end of measures.

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.

Joshua Johnson, born around 1763 in Maryland, was the first Black professional artist in the United States, overcoming the challenges of his early life as an enslaved person.

"The first step towards a cure is admitting you have a problem," artist Josh Kline writes, highlighting the inequities in New York City's real estate market and its impact on art.

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.

"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."

There's this push and pull between feeling unease and discomfort, the nature of the spaces, and why they feel uncomfortable. But there is also tenderness and warmth, people adapting to these spaces and finding ways to make them comfortable.

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.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

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"

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.

At a moment when global progress demands bold and decisive action, the 2026 Women of the Year remind us that individual leadership remains one of the most powerful catalysts for change. Sherald is best known for her official portrait of former First Lady Michelle Obama, renowned for her signature combination of grisaille skin tones and colorful, fashionable attire.

According to a BMA spokesperson reached by Hyperallergic, attendance stood at 63,000 as of Monday, February 9, and is expected to peak at 75,000 by the time the show closes on April 5. That makes Sherald's mid-career survey the museum's most-attended show since 2000 - a remarkable feat considering that the BMA was not an original destination on American Sublime's itinerary.

While taking a break from her musical career, Tifrere founded the nonprofit organisations ArtLeadHER and Art Genesis in 2016. ArtLeadHER provides visual-arts education and exhibition opportunities to women and teenage girls, while Art Genesis helps organise shows for emerging and underrepresented artists.