ARTnews has expanded its list of iconic feminist works by women artists, adding 15 new entries to a previous selection. The article highlights specific pieces, such as Edmonia Lewis's *The Death of Cleopatra* (1876), Mary Cassatt's *The Reader* (1877), and Alice Pike Barney's *Medusa* (1892) and *Lucifer* (1902), providing historical context for each artist and their contribution to feminist discourse through art.
Filippo Lorenzin, an independent curator at London's Victoria and Albert Museum, and artist Marianna Benetti built a miniature art museum for their pet gerbils, Pandoro and Tiramisu, during lockdown. The couple spent four hours constructing the tiny gallery from cardboard, paper, and wood, featuring rodent-themed parodies of famous artworks including Gustav Klimt's *The Kiss*, Johannes Vermeer's *The Girl With the Pearl Earring*, Leonardo da Vinci's *Mona Lisa*, and Edvard Munch's *The Scream*. They filmed the gerbils exploring the space and shared the footage on Reddit, where it quickly went viral.
The article examines the current state of Bangkok's art scene, which is experiencing a surge of private investment and international attention. New institutions like UNITED Unlimited and Misiem's/bangkok are opening, and events like the Bangkok Art Biennale are gaining prominence, leading some international media to compare the city's potential to art hubs like Miami.
Patrick Sun founded the Sunpride Foundation in 2014 to support LGBTQ+ communities through art, combining his passion for contemporary queer Asian art with philanthropy. The foundation's flagship "Spectrosynthesis" exhibition series has been staged at major institutions across Asia, including the Museum of Contemporary Art, Taipei, and the Bangkok Art and Culture Centre. The latest iteration, "Spectrosynthesis Seoul," opened at Seoul's Art Sonje Center and runs through June 28, 2026. Sun, a Hong Kong-born real estate developer and longtime art collector, built the foundation's collection with a focus on works suitable for museum exhibitions about queer identity.
The article reflects on the state of Latinx art in 2025, a year marked by devastating wildfires in Los Angeles and the start of the second Trump administration, which has intensified ICE raids and targeted communities of color. Amid this crisis, artists have created poignant responses, including AMBOS's ceramics project at Frieze Los Angeles benefiting migrants awaiting asylum hearings, and Consuelo Jimenez Underwood's solo exhibition at Artpace in San Antonio, which explored borders both literal and cosmic. The piece also highlights a two-person show by Beatriz Cortez and rafa esparza at the Americas Society, titled "Earth and Cosmos," featuring works that challenge time and space.
Hyperallergic's newsletter explores the question of whether artworks can possess personhood, drawing on Lisa Siraganian's essay that references the 2010 Citizens United Supreme Court decision and Pierre Huyghe's uncanny human statues. Other featured pieces include Ed Simon's review of Elizabeth Goldring's new book on Hans Holbein the Younger, Michael Glover's introduction to George Stubbs's equine portraits at the National Gallery in London, and news of a historic $116M gift to the National Gallery of Art for an artwork lending program. The newsletter also covers Byron Kim's exhibition at James Cohan Gallery, the new V&A East museum in London, and obituaries for Desmond Morris, James Hayward, and Flo Oy Wong.
The United States government transformed the role of the artist during the Great Depression by treating art as a vital public resource rather than a private luxury. Between 1933 and 1943, New Deal programs like the Public Works of Art Project (PWAP) commissioned hundreds of thousands of works for schools, libraries, and hospitals, providing 'plumbers' wages' to struggling creators. This federal patronage supported a generation of then-unknown figures, including Jackson Pollock, Mark Rothko, and Alice Neel, while focusing on the 'American scene' to make culture accessible to the general public.
Allison Rose, a restaurateur and investor, and her husband Dan Rose, a tech venture capitalist, have purchased a working cattle ranch on Rose Spur Road in Snowmass, Colorado, near Aspen. The couple, who were drawn to the area after multiple visits following their 25th wedding anniversary in 2021, are restoring the property with a menagerie of miniature Highland cows, donkeys, and a mini horse named Pop Tart, while planning a greenhouse and future cattle raising. Allison Rose, who also owns a ranch in Hawaii and serves on the boards of the Asian Art Museum in San Francisco and the Aspen Art Museum, shares her vision for the ranch and her thoughts on Aspen's culinary scene in an interview with Cultured.
Art Basel in Switzerland has a unique ritual: many attendees swim in the Rhine River, which flows through Basel. Participants use waterproof bags (often the fish-shaped Wickelfisch brand) to store clothes and belongings, then float downstream from the Museum Tinguely past the Trois Rois hotel. The practice is embraced by dealers, advisers, artists, and art handlers alike, with some describing it as a rejuvenating escape from the fair's intensity. However, not everyone is a fan—gallerist David Nolan calls the river "dirty, dangerous, deeply infested with microplastics," and some attendees avoid it due to concerns about pollution or safety.
The article "Art as Memorial in Lotusland" by Aleina Grace Edwards appears in the February 2026 issue of Contemporary Art Review LA (CARLA). It is part of a larger issue exploring themes like scent in art, tarot, social urgencies in curation, and video art, positioning it within a critical discussion of contemporary art practices in Los Angeles.
The article reveals the little-known friendship and correspondence between Japanese artist Yayoi Kusama and American modernist Georgia O'Keeffe. In 1955, a 26-year-old Kusama, inspired by O'Keeffe's work, wrote to her from Japan seeking guidance. O'Keeffe replied within 20 days, offering advice and encouragement, including urging Kusama to move to the United States and show her art widely. Their decades-long correspondence helped Kusama make her career-defining move to America, though the two met only once, in New York, six years after their first exchange.
The article presents a curated list of seven contemporary artists whose work shares aesthetic or thematic connections with the painter Cecily Brown. It highlights artists like Jenna Gribbon, known for intimate, luminous portraits; Issy Wood, who blends Old Master techniques with contemporary malaise; and others such as Flora Yukhnovich, Doron Langberg, Louis Fratino, Maia Cruz Palileo, and Somaya Critchlow, each exploring figuration, sensuality, and painterly abstraction in distinct ways.
New York is experiencing a wave of Frida Kahlo-related events this spring, including a new book from Rizzoli about her childhood home museum in Mexico City and a small exhibition at the Museum of Modern Art (MoMA) featuring works by Kahlo and Diego Rivera. The centerpiece is the Metropolitan Opera's new production of *El Último Sueño de Frida y Diego*, with music by Gabriela Lena Frank and libretto by Nilo Cruz, both Pulitzer Prize winners. The opera, which premiered in San Diego in 2022, opens on 14 May and features set and costume design by Jon Bausor, who also co-curated the MoMA exhibition alongside curator Beverly Adams. The production imagines Kahlo's spirit rising from the underworld on the Day of the Dead to reunite with Rivera, blending Mexican musical elements with a dreamlike, visually rich aesthetic.
Barbara Kruger's monumental text-based mural "Untitled (Questions)" (1990/2018) at the Geffen Contemporary in Los Angeles has become a backdrop for National Guard deployments during protests against ICE raids. Originally commissioned by MOCA in 1989, the 191-foot-long work asks "WHO IS BEYOND THE LAW?" and has been photographed twice with armed soldiers beneath it—first in 1992 during the Rodney King protests, and again this week as President Donald Trump deployed the National Guard to quell demonstrations against immigration enforcement. Photographer Jay L. Clendenin captured the latest image, showing a calm scene that belies nearby unrest.
Steven Soderbergh discusses his new film *The Christophers* (2025), which follows a cantankerous artist and his young assistant tasked with forging his unfinished works, exploring themes of authorship, originality, and the ethics of art-making. In an interview with ArtReview, Soderbergh also addresses his recent use of AI in a documentary about John Lennon, defending the technology as a creative tool akin to his own filmmaking process, and reflects on his career spanning genres from indie dramas to studio blockbusters.
A new book titled 'Fire Island Art: 100 Years' chronicles the century-long, integral relationship between artists and the LGBTQ+ community on Fire Island. The book, edited by John Dempsey, traces the creative legacy from pre-war artists like Paul Cadmus to modern figures, highlighting how the island's unique environment fostered both sexual and artistic freedom.
2025 Art21 at the Movies
On October 8 and 10, 2025, Art21 hosted its second 'Art21 at the Movies' event in New York. The two-day program featured film premieres, artist talks, and screenings at venues including the Metrograph and the Museum of Modern Art. It highlighted artists from the 'Art in the Twenty-First Century' series and included discussions with filmmakers and curators.
The Art Newspaper has published its 2025 Christmas gift guide, featuring a curated selection of art-related presents. Suggestions include art supplies from London's historic L. Cornelissen & Son, Japanese Irojiten color pencils, and cookbooks like "The Kitchen Studio: Culinary Creations by Artists" and the out-of-print "The Museum of Modern Art Artists' Cookbook." The guide also includes fantasy gift lists from Frieze and Art UK, with items such as Alexander Calder playing cards and a Tom of Finland cushion from House of Voltaire, alongside more unusual ideas like a sponsorship deal for a Victorian loo or a Lego Louvre heist set.
Cultured magazine's Hamptons issue features an interview between designer Robin Standefer and Charlie Marder, the East End horticulturalist known as the 'tree whisperer.' Marder, who co-founded an eponymous Bridgehampton nursery with his wife Kathleen—dubbed 'a horticultural MoMA' by the New York Times—has assembled a sprawling field of massive geological specimens across from the nursery. The rocks, some weighing 10 tons, are salvaged from development sites and quarries. Standefer, who purchased one of Marder's boulders for her birthday, discusses with Marder the ethics of placement, the personalities of stones, and the human urge to give new life to ancient matter.
Clara Wu Tsai, co-owner of the Brooklyn Nets, Barclays Center, and the New York Liberty, has commissioned artist LaToya Ruby Frazier to create her first public artwork, "The Liberty Portraits: A Monument to the 2024 Champions" (2024-2025). The project features nine-foot-tall portraits of each player on the Liberty’s 2024 championship-winning roster, with one side showing the player in uniform and the reverse depicting them with their chosen family. Wu Tsai, a noted collector, has also worked with artists Sarah Sze and Rashid Johnson to develop ambitious art for the Brooklyn stadium, and her Social Justice Fund has supported public art installations like Tavares Strachan's neon piece "We Belong Here."
CULTURED revisits four collector questionnaires from Pride Month, featuring Rob and Eric Thomas-Suwall (the Icy Gays), Chad Leat, and Ilan Cohen. Each collector shares their personal journey, motivations, and the LGBTQ+ artists they champion, including Salman Toor, Dominique Fung, Anna Weyant, Roni Horn, John Giorno, Wolfgang Tillmans, Doron Langberg, Louis Fratino, and TM Davy. The article offers intimate glimpses into their homes and collections, highlighting how they discovered art, built relationships with dealers, and navigated collecting from remote or non-traditional locations.
Four major European museums are simultaneously staging ambitious exhibitions of Black American artists, including Kerry James Marshall at London's Royal Academy, Jacob Lawrence at Kunsthal KAdé in Amersfoort, Nina Chanel Abney in Paris and Amersfoort, and Mickalene Thomas at Les Abattoirs in Toulouse and the Grand Palais in Paris. The article, written as an opinion piece, describes the author's experience at the opening of Abney's show at Elbow Church in the Netherlands and contrasts the European embrace of these artists with the political climate in the United States.
The article profiles Gordon Stevenson, a forgotten visionary of the no wave movement in late-1970s New York, who was an artist, jewelry designer, musician, and filmmaker best known for the notorious film *Ecstatic Stigmatic*. Decades after his death from AIDS, a storage unit full of his lost work has been discovered, including jewelry, mail-art collaborations with Ray Johnson, and clues to a surviving print of his film. His family has also recovered hundreds of letters he wrote to his parents, chronicling his life in downtown New York and his experiences as one of the city's first AIDS patients. The piece traces his journey from a small town in Georgia, where he met his wife Mirielle Cervenka (who later renamed Exene Cervenka), to their punk-era jewelry brand LHOOQ and his lasting influence on gothic fashion.
The Los Angeles County Museum of Art (LACMA) has grown from a fledgling institution into a world-class museum through a deliberate, long-term strategy of cultivating collectors, building strong local relationships, and leveraging its exhibition program to acquire major works. This approach, described as "a teaspoon at a time," involved patient donor cultivation and using international loan shows as opportunities to secure significant pieces for the permanent collection.
Gus Casely-Hayford, the director of V&A East, outlines his vision for the new museum as a collaborative space designed specifically to re-engage young audiences. Highlighting a new commission by Cuban artist Tania Bruguera created with local youth, Casely-Hayford argues that museums must move beyond Victorian-era paternalism toward a model of co-creation. The institution has consulted over 30,000 young people to ensure its galleries, such as the "Why We Make" space, reflect contemporary concerns and community needs.
Joshua Johnson, born into slavery in Maryland around 1763, emerged in the late 18th century as the first documented Black professional artist in the United States. After gaining his freedom in 1782, Johnson established himself in Baltimore as a self-taught portraitist, advertising his services in local newspapers and catering to the city's prominent families. His body of work, consisting of approximately 83 attributed paintings, is characterized by a distinct flatness and three-quarter profile compositions typical of early American folk art.
Sarah Miriam Peale, a member of the prominent Peale art dynasty and arguably the first professional woman artist in the United States, is finally receiving long-overdue institutional recognition. Despite a prolific sixty-year career painting portraits of political figures and still lifes in Baltimore and St. Louis, her legacy was largely overshadowed by her uncle Charles Willson Peale and her male cousins. Her independence as an unmarried woman who supported herself entirely through her craft marked a radical departure from the gender norms of the 19th century.
A new video game titled 'Relooted' has been released, casting players as vigilantes in an Afrofuturistic future who must reclaim looted African artifacts from Western museums before they are hidden away. Developed by South African studio Nyamakop, the game tasks players with repatriating up to 70 specific, real-world contested treasures, including the Bangwa Queen and the Maqdala Crown, through heist-style gameplay.
Thomas Schlesser's novel *Mona's Eyes* has been named Barnes & Noble's book of the year for 2025, but its cover has sparked controversy online. The cover features Johannes Vermeer's *The Girl with the Pearl Earring*, even though the story is about a girl named Mona who visits Paris museums with her grandfather, and the painting is not held in Paris—it resides at the Mauritshuis in The Hague. A viral Reddit thread on an art history subreddit accused the publisher of "ragebait," noting the mismatch between the cover image and the book's content. Schlesser, an art historian who teaches at the École Polytechnique and runs the Hartung Bergman Foundation, defended the choice, saying he wanted an iconic work symbolizing light and darkness rather than highlighting any of the 52 artworks featured in the story.
The article explores the enduring appeal of James McNeill Whistler's 1871 painting commonly known as "Whistler’s Mother," officially titled "Arrangement in Grey and Black, No.1." It recounts how the painting was acquired by the French state in 1891 and became the first American painting in the Louvre, now housed at the Musée d'Orsay. The piece also reveals little-known facts: the sitter's full name was Anna Matilda McNeill Whistler, who wore mourning clothes for 31 years after being widowed and moved in with her son in London, displacing his mistress. The article includes her recipe for a dessert called Floating Island and notes that Whistler incorporated his earlier etching "Black Lion Wharf" into the portrait.