Taína Cruz Interview

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Taína H. Cruz has emerged as a central figure in the 2024 New York art season, achieving the rare feat of being featured simultaneously in the Whitney Biennial and MoMA PS1’s "Greater New York." A 2023 Yale MFA graduate, Cruz has become the literal face of the Whitney Biennial, with her painting "I Saw the Future and It Smiled Back" displayed on a massive billboard outside the museum. Her work, which often explores Black female identity through a lens of folklore, horror, and celebrity culture, is characterized by a moody and unsettling atmospheric quality.

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The Syrian government has announced plans to reopen the ancient city of Palmyra to tourists as early as next summer, following extensive damage inflicted by ISIS. The historic UNESCO World Heritage Site, once attracting 150,000 visitors annually, was occupied twice by the terrorist group, which destroyed iconic structures including the Temple of Bel, the Temple of Baal Shamin, and the Arch of Triumph, and beheaded the city's head of antiquities, Khalid al-As'ad. Restoration efforts are underway with assistance pledged from UNESCO, Russia, Poland, and Italy, focusing on repairing the Old City and restoring artifacts such as the Lion of Al-lāt statue.

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Monument Lab and Bryn Mawr College have unveiled a permanent public artwork by Nekisha Durrett titled "Don't Forget to Remember (Me)" in the school's Cloisters courtyard. The installation features 9,000 custom pavers arranged in an intertwined knot pattern, with 250 of them engraved with the names of Black staff whose labor was essential to the college's early operations but went unrecognized. The project emerged from a multiyear initiative called Art Remediating Campus Histories, which included symposia, lectures, and community consultations to address the institution's histories of systemic exclusion.

Exhibition | Bùi Thanh Tâm, 'Here on and after' at Eli Klein Gallery, New York, United States

Eli Klein Gallery in New York is presenting "Bùi Thanh Tâm: Here on and after," the Hanoi-based artist's first solo exhibition in the United States. The show features 13 new and recent paintings that explore Vietnam's colonial history, the aftermath of war, and the persistence of memory. Tâm, a leading Vietnamese painter of the postwar generation, incorporates traditional folk woodblock prints—Đông Hồ, Hàng Trống, and Kim Hoàng—into layered, collaged works. The sunflower emerges as a central symbol of resilience and rebirth, influenced by Anselm Kiefer and Francis Bacon, while addressing trauma from French colonialism to Agent Orange. The exhibition includes series such as "Searching for the Sunflower," "Hello. God is here," "Utopia," and "Mutant," each examining themes of healing, endurance, and cultural transformation.

Dorothy Dehner | Dorothy Dehner - Drawing for Sculpture (1955) | Available for Sale

Alpha 137 Gallery has listed a unique 1955 work on paper by American modernist Dorothy Dehner titled "Drawing for Sculpture." The piece, executed in brown marker on found stationery from a New York manufacturer’s agent, represents a pivotal moment in Dehner’s career when she transitioned from painting to the abstract sculpture for which she became famous. The work is hand-signed and dated, reflecting her early exploration of three-dimensional forms through graphic media.

Chicago Art Movements Over The Years, From the Monster Roster to the Modern Moment

Chicago’s art history is defined by a series of indigenous movements that prioritized visceral, existential expression over commercial appeal. The article traces this lineage back to the late 1940s with the emergence of the Monster Roster, a group of artists including Leon Golub and Dominick Di Meo who returned from World War II to produce agonistic work. This movement was catalyzed by institutional resistance at the School of the Art Institute of Chicago, leading to the creation of the independent Momentum Exhibitions which bypassed conservative juried systems.

Arnulf Rainer, a revolutionary figure in postwar Austrian art, has died aged 96

Arnulf Rainer, a revolutionary figure in postwar Austrian art, has died at age 96. His death on 18 December was confirmed by his gallery Thaddaeus Ropac, which described him as one of the most influential artists of the post-war period. Born in 1929 in Baden, Austria, Rainer emerged as a leading figure of the Austrian avant-garde, known for his gestural paintings confronting the atrocities of the Holocaust and Hiroshima, and for his experimental self-portraiture. He was a founding member of Galerie nächst St Stephan in postwar Vienna, a vital hub for artists seeking alternatives to the conservative art world. His signature Übermalungen (overpaintings) involved painting over photographs and self-portraits with aggressive gestures, dense black strokes, and erasures, creating charged works where violence and vulnerability coexist.

Artist Olafur Eliasson brings the outside world thrillingly to life inside the art gallery

Icelandic-Danish artist Olafur Eliasson's major survey exhibition 'Presence' has opened at the Gallery of Modern Art (GOMA) in Brisbane, Australia. Curated by Geraldine Kirrihi Barlow, the show synthesizes three decades of Eliasson's immersive installations, photography, and sculpture, including iconic works like 'Riverbed' (2014) and 'The cubic structural evolution project' (2004), both from QAGOMA's permanent collection. A spectacular new installation also titled 'Presence' features a pulsing artificial sun using mirrors and monofrequency light to create an illusion of infinite space.

Hmm, what shall we see at Paris Photo 2025?

Paris Photo 2025, the 28th edition of the international photography fair, returns to the Grand Palais from 13-16 November, hosting 179 galleries from 33 countries. Artistic director Anna Planas emphasizes a program spanning photography's full history, from 19th-century works to contemporary digital and blockchain-based pieces. Highlights include a solo installation by Hasselblad Award winner Sophie Ristelhueber, a darkroom demonstration by photographer Renato D'Agostin, and the 'Emergence' sector featuring Prix Maison Ruinart winner Marine Lanier. The fair also offers conversations, performances, and book signings with artists like Todd Hido and Wolfgang Tillmans, plus an exhibition of Latin American photography from the Estrellita B Brodsky collection.

As Art X Lagos opens, Nigeria's next generation of artists emerges

Art X Lagos, the art fair founded by Tokini Peterside-Schwebig in 2016, opens for its tenth edition from November 6-9, anchoring Lagos Art Week. The fair features a group show at Kó Art Space spotlighting artists inspired by the Oshogbo School, a 1960s Nigerian movement, and Tiwani Contemporary presents sculptural works by Lagos-based designer Nifemi Marcus-Bello, his first exhibition in Nigeria. The Guest Artists Space (GAS) Foundation, established by British-Nigerian artist Yinka Shonibare, adds talks, workshops, and cultural exchange programs, contributing to a vibrant, sprawling art week across the city.

The Disturbing Lessons of the 1937 ‘Degenerate Art’ Show

The article examines the historical context and enduring relevance of the 1937 Nazi-organized 'Degenerate Art Show' (Entartete Kunst) in Munich, which displayed hundreds of works by modern artists like George Grosz, Wassily Kandinsky, and Paul Klee as examples of moral and cultural corruption. It traces the concept's roots in 19th-century Social Darwinism, its adoption by Adolf Hitler and the Nazi Party to denigrate modern art, and the gradual escalation of cultural purification policies after Hitler seized power in 1933, including the firing of museum directors and the construction of the Haus der Deutschen Kunst.

Teiger Foundation gives grants totalling $7m to 85 curators

The Teiger Foundation, a US-based nonprofit supporting art curators, has announced its 2025 grantees, awarding a total of $7 million to 85 curators at institutions across the country. This nearly doubles last year’s grants as the foundation transitions to a biennial model, with individual grants ranging from $50,000 to $150,000 for exhibitions, research, touring shows, and three years of programming. Notable projects include a major survey of the late artist L.V. Hull organized by curators Ryan N. Dennis, Annalise Flynn, and Yaphet Smith, and a Theresa Hak Kyung Cha retrospective curated by Victoria Sung and Tausif Noor.

The Myth of the “Emerging” Black Artist: Ageism and Access in the Art World

The article, written by Chenoa Baker, critiques the art world's labeling system that categorizes artists as emerging, mid-career, or established. It argues that these labels are particularly harmful to Black artists, who are often kept in the "emerging" category for years despite significant achievements, collections, and decades of practice. The piece highlights the cases of Cheryl Miller, a self-taught analog photographer whose work is held by major institutions yet who had to "re-emerge" after relocating, and Ifé Franklin, a queer Black artist whose career was sidelined by systemic erasure and who is now being honored as an "elder" artist. The article connects these labels to ageism, lack of access to elite schools and galleries, and the undervaluing of self-taught artists and those working outside traditional art centers.

Remembering John Sailer, the gallerist and champion of Austrian art, who has died, aged 87

John Sailer, the founder of Vienna's Galerie Ulysses and a key champion of Austrian avant-garde art, has died at age 87. Sailer opened the gallery in 1974 with Gabriele Wimmer in a garage space before moving to its permanent location at Opernring 21. Over five decades, the gallery showcased Austrian artists such as Hans Hollein, Maria Lassnig, Walter Pichler, Arnulf Rainer, and Fritz Wotruba, alongside American greats like Jackson Pollock, Andy Warhol, and Helen Frankenthaler. Sailer also worked to promote Austrian and German artists in US museums, notably organizing a Rainer exhibition at the Guggenheim Museum and the Menil Collection, and successfully introducing Lassnig to the New York market at age 70.

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A jury trial is underway in Kingston, New York, to determine who will control the estate of Billy Name, the artist and photographer who lived with Andy Warhol in the 1960s and documented the Factory scene. Name died in 2016, and two competing wills have emerged: one from 2011 naming his niece Suzette Linich as executor, and another from 2015 naming his agent Dagon James. Linich argues Name lacked mental capacity when signing the later will, while James insists Name was lucid and fit.

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California College of the Arts (CCA), the Bay Area's last private art and design school, will close after the 2026–27 academic year, ending 116 years of operation. Vanderbilt University will acquire CCA's San Francisco campus and open a West Coast outpost in 2027, continuing some art and design programs. The closure follows years of financial struggles, including a $20 million deficit, declining enrollment from 1,800 to 1,295 students, and emergency fundraising that raised nearly $45 million—including a $22.5 million matching gift from the Jen-Hsun and Lori Huang Foundation and a $20 million state grant—but proved insufficient to ensure long-term independence.

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Anna Marie Tendler is presenting her interactive "House of Self Portrait Booth" at the Other Art Fair in Brooklyn, where she photographs fairgoers in a darkly romantic style inspired by her acclaimed 2021 self-portrait series "Rooms in the First House." The booth, which has previously appeared at the fair's Los Angeles and Chicago editions, features props from Tendler's own home, including a horned skull, a gramophone, and Victorian-style lampshades. Tendler's original series emerged from a period of personal struggle following her highly publicized divorce from comedian John Mulaney and an extended stay in a psychiatric hospital.

who was joan shogren computer art 2619360

Joan Shogren, a chemistry graduate from San José State University (SJSU) in the early 1950s, created some of the world's first computer-generated art in 1963 while working as a secretary in the chemistry department. Collaborating with graduate student Jim Larson and assistant professor Ralph Fessenden, she developed a theory that computers could create art if given "rules" of proportion, balance, and center of interest. Fessenden translated her "laws of art" into code on an IBM 1620 computer, producing artworks that were printed as number arrays and later hand-colored by artist Marvin Coon. Shogren exhibited these works in May 1963 at the campus bookstore, recognized as the first public display of computer art. Two decades later, she was commissioned by software company T/Maker to create the first clip art, "ClickArt," released in 1984 for Macintosh computers, designed pixel by pixel.

Despite Uncertainty, Gulf Art World Projects Normalcy

Galleries and museums in Gulf states like the UAE, Qatar, and Saudi Arabia are reopening and projecting normalcy despite the ongoing US-Israel war on Iran, which has entered its fourth week. Major events like Art Dubai have been postponed, and institutions like the Sharjah Art Foundation have delayed gatherings, but many cultural venues are operating with adjusted formats or by appointment.

Joe Moss, Drones and Caspar David Friedrich

Artist Joe Moss presents his installation 'Automated Fantasy Procedure' at Matt's Gallery in London. The work features a squadron of choreographed drones, two-channel videos with actors portraying figures like a Caspar David Friedrich-inspired wanderer, and a Roman-style mosaic, all experienced in scheduled ten-minute replays designed to mimic the overwhelming sensation of scrolling through a smartphone.

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The 82nd edition of the Whitney Biennial has opened at the Whitney Museum of American Art, curated by Marcela Guerrero and Drew Sawyer. Featuring 56 artists from diverse global backgrounds, the exhibition explores themes of American empire, human-nonhuman relationships, and the impact of infrastructure. Early critical reactions highlight a pervasive sense of "horror" and bodily disturbance, with works utilizing AI, sculpture, and painting to address grief, war, and societal transformation.

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Sylvia Snowden's exhibition "On the Verge" at White Cube New York showcases her "M Street" series of paintings, created between 1978 and 1997. The works feature thick, impasto surfaces and muscular, whiplashed figures that emerge from oil pastel and acrylic, depicting anatomical crises rather than symbolic or allegorical subjects. The show was organized by Sukanya Rajaratnam, who conserved and restored the paintings from Snowden's archive in Washington, D.C.

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Art Basel Paris has announced the 203 galleries participating in its 2025 edition, set to take place at the Grand Palais from October 24–26, with VIP previews on October 22–23. The fair is divided into three sections: the main Galeries section with 177 dealers, Emergence featuring 16 solo booths for emerging artists, and Premise with nine presentations from 10 galleries challenging the art historical canon. Notable blue-chip participants include Gagosian, Hauser & Wirth, Pace Gallery, David Zwirner, and top Parisian galleries such as Balice Hertling, Galerie Chantal Crousel, and Mennour. The fair will also bring back its Oh La La! Initiative and public art exhibition in the Jardin des Tuileries.

Historic Tiffany Window, Once Hidden in Texas Church, Reemerges at Crystal Bridges

Crystal Bridges Museum of American Art has unveiled a monumental Tiffany Studios window, "Mountain Landscape (Root Memorial Window)," which was previously housed in a San Antonio church. The 1917 stained-glass masterpiece, designed by Agnes Northrup, had been roped off for a decade due to insurance liabilities before the church sought a public institution to ensure its preservation and display. Following a meticulous conservation process, the nine-foot-tall window is now a centerpiece of the museum’s Visions of America Galleries.

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The Zero Art Fair, running through Saturday at the Flag Art Foundation in Chelsea, New York, offers visitors the unusual option of taking artworks home for free. Co-founded by artists Jennifer Dalton and William Powhida, the fair operates on a model where buyers can either purchase a piece outright or acquire it at no cost, with the condition that their name appears on a public registry and they agree to lend the work for exhibitions. If no paying buyer emerges after five years, the free acquirer keeps the work permanently. The fair's first edition took place during Upstate Art Week in a Hudson Valley barn, and this second edition is supported by sponsors including collector Glenn Fuhrman's Flag Art Foundation and Gagosian gallery.

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Art Basel has concluded and the London sales have wrapped, marking a busy first half of 2025 for Asian art markets despite economic uncertainties and geopolitical challenges. New players and trends have emerged: international auction houses aligned their Hong Kong sales with Art Basel Hong Kong for the first time, South Asian art has had a banner year at auction and in institutions, and West Asia is rising with Sotheby's inaugural sale in Saudi Arabia and Art Basel's planned Qatar fair. Asian galleries are expanding into Western capitals, while Western galleries are picking up Asian talent, such as Korean artist Anna Park joining Lehmann Maupin and Rim Park partnering with Kraupa-Tuskany Zeidler. Japanese artist Yu Nishimura had his first U.S. solo show at David Zwirner, and the Labubu plush toy by Kasing Lung became a pop culture sensation.

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The Mellon Foundation is providing $15 million in emergency grants to the Federation of State Humanities Councils, which will distribute the funds to all 56 state and jurisdictional humanities councils across the U.S. This comes after the Trump administration revoked $65 million in grants promised by the National Endowment for the Humanities (NEH), redirected to the National Garden of American Heroes. The administration also terminated over 1,000 NEH grants and placed about 80 percent of NEH staff on paid administrative leave following a visit from Elon Musk's Department of Government Efficiency (DOGE). Many state councils now face potential closure or severe program cuts.

These Ghosts. Clémentine Bruno  by Michela Ceruti

Clémentine Bruno’s artistic practice explores the tension between presence and absence, treating the canvas as a site of temporal layers rather than a flat surface for representation. Her work emphasizes the preparatory stages of painting—the laying of gesso and the construction of supports—allowing images to emerge reluctantly through processes of sanding, veiling, and partial erasure. Recent exhibitions, such as "Educational Complex" at Tonus and "Vision of Fading" at Mendes Wood DM, highlight her interest in how institutional structures and memory maps dictate what is retained and what is forgotten.

‘The Queen of the Ghetto’ Gave New York’s Immigrant Community a Voice. A Century Later, It’s Re-emerging

Anzia Yezierska, a Polish-Jewish immigrant who arrived in New York in 1890, defied traditional gender expectations to become a leading literary voice of the 1920s. Dubbed the 'Queen of the Ghetto,' she documented the raw struggles of immigrant women on the Lower East Side using a unique 'immigrant English' style that captured Yiddish idioms. After escaping a restrictive marriage and pursuing an education at Columbia University, she channeled her personal frustrations into stories of poverty, ambition, and the psychological toll of assimilation.

At Yale: the commercial empire within the British empire

The Yale Center for British Art presents 'Painters, Ports, and Profits,' an exhibition of 115 items spanning a century of art and history, focusing on the East India Company's commercial empire. The show includes paintings, prints, drawings, books, and artifacts such as a 37-foot watercolor scroll of Lucknow (1826) and works by Indian artist Gangaram Chintaman Navgire Tambat, who emerges as the artistic star with 20 pieces. It also features prints of the company's opium factory and 'The Opium Fleet Descending The Ganges' by Walter Stanhope Sherwill, highlighting the company's role in the Opium Wars with China.