#joshua-erkman

#joshua-erkman

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.

"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.

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 entire indoor journey, from entry to elevator to the 100th floor, has been reimagined as a multi-sensory, immersive environment. The overhaul comes via a collaboration between experiential design firm Journey, multimedia studio Moment Factory and NYC-based design outfit SOFTlab.

"It's a really special spot. When you start at the top and move down the gently sloped ramp, you almost feel like a marble tumbling down, looking at art as you roll by. The slight slant plays with your sense of perspective and grounding."

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

Kyoung Chun's creative practice moves between painting and site-specific installation. Interactive works extend the language of painting beyond the canvas, inviting viewers into environments that challenge perception and encourage connection.

"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."

"We accept anything that could be used in some sort of creative way, so it's very open."

"My paintings can be described as sculptural in nature, emphasising physical presence, weight and materiality."

"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."

Carter Shocket stated, 'They kind of felt like they happened and then they were over, like it wasn't a long-lasting kind of project. It was just a flash-in-the-pan kind of thing.'

Pictoplasma is the world's leading conference on contemporary character-driven creativity, focusing on storytelling and how characters shape emotion, identity, and meaning.

"We are uniquely global and local, historic and contemporary, collection driven and exhibition driven," Westermann said. "I really needed someone who understands that complexity."

The exhibition features 20 works of art as well as photographs and other ephemera dating back to the late 1970s-just before Basquiat launched his studio practice.

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.

"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.

"Over the years, we would show them to different people who came to the house. And a lot of people wouldn't finish looking at them," Orce said.

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 Duchamp exhibition at MoMA is encyclopedic, thought-provoking, and sometimes surprising. It spans the entire sixth floor and invites viewers to engage deeply with his work.

Aliza Nisenbaum's vibrant portraiture portrays her subjects in bold chromatics, echoing her larger project, a celebratory mural for the Obama Presidential Center.

A new report found that museums and cultural centers founded and led by people of color in the Northeast face severe staffing shortages, with over a third of responding institutions lacking a single full-time employee.

KAWS has shown an uncanny ability to connect with a wide variety of people. Younger buyers clamor for his $50 Uniqlo T-shirts, while trophy-hunting collectors shell out millions for paintings.

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.

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.