At the ‘art world Olympics,’ Team USA is chaotic

The US Pavilion at the 2026 Venice Biennale, often called the 'art world Olympics,' is mired in controversy and delays under the Trump administration. Curator Jeffrey Uslip insists the process has been smooth and artistically autonomous, but the selection of sculptor Alma Allen and commissioner Jenni Parido—a former pet supply shop owner with a new nonprofit—has raised eyebrows. The usual vetting process by the National Endowment for the Arts was disrupted, new language banning diversity, equity, and inclusion efforts was added to applications, and a government shutdown left only six months to fundraise and plan the exhibition, which coincides with the US's 250th anniversary.

Tania Yakunova’s Expressive Figures Entwine with Plant Life in Digital and Graphite Illustrations

Kyiv-born illustrator Tania Yakunova creates lush digital and graphite illustrations characterized by grainy textures, gestural lines, bold shapes, and vibrant colors. Her work, which often features expressive human figures entwined with plant life, conveys brand narratives and personal emotions, such as homesickness following her 2023 move from Ukraine to London.

Barbara Chase-Riboud Says She Declined US Pavilion Offer Because It Was ‘Not the Moment’

Sculptor Barbara Chase-Riboud has revealed she declined an offer to represent the United States at the 2025 Venice Biennale, stating that for her, "this was not the moment." The offer was made by the American Arts Conservancy, the nonprofit organization commissioning the US Pavilion. The revelation comes amid ongoing scrutiny of the selection process that ultimately led to artist Alma Allen being chosen, following reports that the Trump administration removed diversity language from application materials.

Insects, Dresses, and Rebellion: Why 'The Law of Lidia Poët' is Different from All Other Costume Dramas

Insetti, abiti e ribellione: perché “La legge di Lidia Poët” è diversa da tutte le altre serie in costume

The third and final season of the Netflix series "The Law of Lidia Poët" concludes the story of Italy's first female lawyer in 1880s Turin. While the narrative follows her legal battles and social defiance, the production distinguishes itself through a rigorous and symbolic approach to costume design led by Stefano Ciammitti. Rather than modernizing the past, the series uses historical aesthetics—specifically gothic literature and naturalistic obsessions—to construct a visual language of rebellion.