Hyperallergic has published its monthly list of opportunities for artists, writers, and art workers, featuring a curated selection of upcoming deadlines for residencies, fellowships, grants, and open calls. The list includes programs from institutions like the Banff Centre for Arts and Creativity, the Center for Craft, the Tulsa Artist Fellowship, and Light Work, offering financial support, studio space, and community.
A guide highlights ten notable art exhibitions opening in Chicago this spring, focusing on shows at smaller, community-focused, and artist-run spaces like Good Weather, Hyde Park Art Center, and the Ukrainian Institute of Modern Art. Featured exhibitions include Hunter Foster's "Involition," which repurposes a Cold War siren to comment on infrastructure and threat, and Alison Ruttan's ceramic installation "The Paradox of Inaction," which visualizes climate disaster.
Beverly Buchanan’s Architecture of Care
A major retrospective and a focused exhibition of artist Beverly Buchanan's work are now on view in Athens, Georgia, where she lived for many years. "Shacks, Stories, and Spirit: Beverly Buchanan’s Art of Home" at the Georgia Museum of Art features her canonical "Medicine Woman" sculpture, while "Beverly’s Athens" at the University of Georgia’s Athenaeum presents a rich archive of her ephemera, sketches, and community-focused works, marking the city's first institutional solo exhibitions of her art posthumously.
Deepen Your Creative Practice at Vermont Studio Center
The Vermont Studio Center is now accepting applications for its artist and writer residencies scheduled for the first half of 2027. The program, located in Johnson, Vermont, offers two- to four-week sessions that provide private studio space, lodging, and a structured schedule including resident presentations, open studios, and a Visiting Artist & Writer program. Applications for the January–June 2027 residencies are due by March 31, 2026.
The Gardiner Museum in Toronto has reopened after a 15-month, CA$15.5 million renovation of its ground floor spaces. The overhaul, led by Montgomery Sisam Architects and Andrew Jones Design with studio:indigenous, includes new collection galleries, a reworked entrance hall, a ceramics studio, and a community learning center. The renovation was funded by public and private gifts, including a CA$9 million donation from the Radlett Foundation that also added over 250 ceramic objects. A key addition is "Indigenous Immemorial," a permanent gallery dedicated to Indigenous clay art, developed by the museum's first curator of Indigenous ceramics, Franchesca Hebert-Spence, in collaboration with Indigenous artists and advisors.
An exhibition titled "Before the Americas," originally scheduled to open at the Art Museum of the Americas in Washington, D.C., was canceled after the Trump administration deemed it a DEI program and cut its funding. The show, which surveys work by Afro-Latino, Caribbean, and African American artists from the Greater Washington area, has now opened at Gillespie Gallery at George Mason University School of Art in Fairfax, Virginia, thanks to about 50 to 60 private donors who stepped in to fund it. Curated by Cheryl Edwards, the exhibition features 39 artists from 17 countries, including Amy Sherald, Renee Stout, Alma Thomas, Elizabeth Catlett, and Alonzo Davis, and runs through November 15 before traveling to the University of Maryland Global Campus.
Protests erupted outside White Cube's London gallery last Thursday over a fireworks piece by Chinese artist Cai Guo-Qiang. The artwork, titled *The Rising Dragon*, was staged on September 19 at a high-altitude plateau in Shigatse, Tibet, and sparked online backlash over environmental concerns. Two UK-based groups, Tibetan Community in Britain and Free Tibet, led the protest, accusing Cai of committing "cultural violence." White Cube acknowledged the groups' concerns but continues to host Cai's exhibition, which opened in June and runs through early November.
During Singapore Art Week, the merger of the boutique fair S.E.A. Focus into the larger Art SG fair sparked quiet concern among some participants. Dealers worry the move is a precursor to S.E.A. Focus being absorbed entirely, potentially sidelining its regional focus and making participation more expensive for Southeast Asian galleries. The future of the Singapore Biennale was also debated after a local newspaper article called for its termination.
Qui sont les membres du jury de la Biennale de Venise ?
The 61st Venice Biennale, opening May 9, 2026, has announced its international jury, which is composed entirely of women. The five members are Solange Oliveira Farkas (president), Zoe Butt, Elvira Dyangani Ose, Marta Kuzma, and Giovanna Zapperi, hailing from Brazil, Thailand, Spain, the United States, and Switzerland. Their backgrounds span the Global South, feminist studies, and transnational curatorial practices.
Un face-à-face titanesque réunit les corps vibrants de Rodin et Michel-Ange au Louvre
The Louvre has mounted an exhibition that places the works of Auguste Rodin in direct dialogue with those of Michelangelo, focusing on the profound influence of the Renaissance master on the 19th-century sculptor. Key sculptures like Rodin's 'Adam' and 'The Age of Bronze' are juxtaposed with Michelangelo's 'Dying Slave' and 'Rebellious Slave', highlighting shared themes of contorted male forms and masterful use of contrapposto.
The Seoul Museum of Art (SeMA) is hosting "Proximities: Contemporary Art from the United Arab Emirates," a major survey featuring over 110 works by 47 artists. Co-curated by Maya El Khalil and Eunju Kim in collaboration with the Abu Dhabi Music & Arts Foundation (ADMAF), the exhibition eschews traditional chronological narratives in favor of a dense, non-linear exploration of Emirati identity. The show is organized into thematic chapters led by artist-curators, featuring works ranging from Shaikha Al Mazrou’s precarious sculptures to Raja’a Khalid’s olfactory installations.
A new exhibition at Philadelphia's Institute of Contemporary Art, titled “The Shakers: A World in the Making,” brings historic Shaker objects into dialogue with contemporary art, including newly commissioned works. The show, a collaboration with the Vitra Design Museum, Milwaukee Art Museum, and Shaker Museum, coincides with the release of the film *The Testament of Ann Lee* and focuses on Shaker values such as craft, patience, and care rather than their more controversial principles like celibacy and gender segregation. Featured artists include Amie Cunat, who created a contemplative cardboard meetinghouse, and Christien Meindertsma, who uses Shaker basket-making techniques for willow burial vessels.
The Ayala Foundation has appointed Reuben Keehan as the incoming artistic director of Kontempo, a new contemporary art space set to open in Manila. Designed by Kulapat Yantrasat of WHY Architecture, the venue will feature over 26,000 square feet of exhibition space across three galleries and nearly four acres of green space for sculptures and installations, located in the Circuit Makati development. Keehan joins from the Queensland Art Gallery / Gallery of Modern Art, where he served as curator of contemporary art, and has curated the Asia Pacific Triennial of Contemporary Art since 2013.
The second edition of the Atlanta Art Fair took place at Pullman Yards, a historic 27-acre former rail works in the Kirkwood district. The fair, directed by Kelly Freeman, featured around 80 dealers and attracted a diverse crowd, including many high school and college students, with a casual atmosphere far removed from typical art fair elitism. Freeman emphasized teaching the city how to use an art fair, prioritizing accessibility and long-term engagement over immediate sales.
Li Hei Di, a young Chinese-born painter based in London, has emerged as one of the most closely watched artists in the ultra-contemporary market despite its recent downturn. Since joining Pace Gallery in September 2024 as its youngest artist, Li's works have appeared at auction 12 times, with eight sales in Hong Kong. Nearly every lot has exceeded expectations, often doubling or tripling high estimates. A standout was the painting *There Was One Summer Returning Over and Over; There Was One Dawn I Grew Old Watching* (2023), which sold at Sotheby's Hong Kong for HK$2.67 million—more than double its high estimate—setting a new auction record. Auction specialists and dealers emphasize that Li's market reflects a slow, sustained buildup rather than a speculative spike, with bidding and buying activity spanning Asia, Europe, and the United States.
The Ruth Foundation for the Arts has named five artists as recipients of its 2026 Ruth Awards: Yuji Agematsu, Ranu Mukherjee, Will Rawls, Ellen Sebastian Chang, and Anna Martine Whitehead. Each winner receives an unrestricted $100,000 grant disbursed over two years. The artists work across diverse media—from Agematsu's miniature street-detritus sculptures and Rawls's multidisciplinary choreography to Mukherjee's painting and film installations, Sebastian Chang's decades-spanning theater and film work, and Whitehead's performance art. The awards are open to artists across North America and are now in their third year.
The Smithsonian American Art Museum's Renwick Gallery has opened "State Fairs: Growing American Craft," the first exhibition since the Trump administration's August 2025 audit of all Smithsonian exhibitions, didactics, and collections. The audit, based on an executive order to "restore truth and sanity to American history," condemned discussions of racism, sexism, and oppression as revisionist history. The exhibition features over 250 works from across the United States, spanning the 19th century to the present, arguing that regional state and tribal fairs are essential sites for the development of American craft. It includes spectacular pieces like a 12-foot pair of Lucchese boots, a life-size butter sculpture, and works by artists such as Morgan Hill, Kelly Bohnenkamp, Betty Spindler, Linda Nez, Kaye D. Miller, and Peggie Hartwell.
The Virginia Museum of Fine Arts (VMFA) in Richmond has repatriated 41 terracotta relief fragments valued at approximately $400,000 to Turkey. The works, acquired by the museum in the 1970s from Summa Galleries and antiquities dealer Harlan J. Berk, were determined to have been illegally excavated from a 6th-century B.C.E. Phrygian temple. The repatriation followed an investigation by the Antiquities Trafficking Unit of the Manhattan District Attorney’s Office, which presented evidence of illicit excavation and illegal export to the museum.
The Pérez Art Museum Miami (PAMM) has announced two major gifts totaling $7 million for its Caribbean Cultural Institute (CCI). The Mellon Foundation contributed an additional $2 million, while the Green Family Foundation (GFF) donated $5 million, leading to the institute's renaming as the Green Family Foundation Caribbean Cultural Institute. The funds will support operating expenses and the endowment of the CCI, which was originally established in 2019 with a $1 million Mellon grant. The Green Family Foundation, founded by Steven J. Green and Dorothea Green, has deep philanthropic roots in Miami, including ties to Florida International University and local art initiatives. Current CCI fellows include artist M. Florine Démosthène, writer Rianna Jade Parker, and anthropologist Celia Irina González.
David Kordansky Gallery in Los Angeles presents 'Hopes and Fears,' a solo exhibition of new paintings by Tristan Unrau from March 19 to April 25, 2026. This is the artist's first show with the gallery and his most ambitious presentation to date, occupying three spaces at the venue.
LA카운티미술관(LACMA) 뉴 데이빗게펜 갤러리 4/19 오픈...서도호 작 '경복중 자경전' 설치
The Los Angeles County Museum of Art (LACMA) has announced the official opening of the David Geffen Galleries on April 19, 2026. Designed by Pritzker Prize-winning architect Peter Zumthor, the 900-foot-long horizontal structure spans Wilshire Boulevard and features a single elevated exhibition level for the museum’s permanent collection. The inaugural installation, curated by a collaborative team of 45 specialists, rejects traditional chronological or geographical hierarchies in favor of a thematic approach centered around global oceanic frameworks.
The Cameron Art Museum in Wilmington, North Carolina, has announced its upcoming summer exhibition, "Fresh Air: Inflatable Sculptures," opening June 19. The show features large-scale, interactive works including Nick Cave’s "Augment," a vibrant installation made from repurposed lawn ornaments, and Andy Warhol’s historic 1966 floating installation "Silver Clouds." Other participating contemporary artists include Claire Ashley, Nicole Banowetz, Nancy Davidson, Tamar Ettun, and Momoyo Torimitsu.
Expo Chicago has distinguished itself within the global art fair circuit through its unique Curatorial Forum, a partnership with Independent Curators International (ICI) that began in 2014. Originally conceived by Tony Karman and Renaud Proch, the program has evolved from a small gathering into a major national convening that provides curators with professional development, networking opportunities, and a platform for thought leadership. The initiative has been so successful that ICI established its only year-round satellite office in Chicago to support the local curatorial community.
Christie’s is holding its 20th and 21st Century Art auctions in New York this November, featuring masterpieces by David Hockney, Mark Rothko, Pablo Picasso, Lucian Freud, and Richard Diebenkorn. The sales include works from distinguished private collections such as The Collection of Robert F. and Patricia G. Ross Weis, Elaine: The Collection of Elaine Wynn, the Edlis | Neeson Collection, and the Arnold and Joan Saltzman Collection. A free public exhibition runs from 7–20 November at Christie’s Rockefeller Center galleries, with live auctions on 18 and 20 November, including an Impressionist & Modern Works on Paper Sale and a Post-War & Contemporary Art Day Sale. Highlights include Edgar Degas’ pastel *Danseuses sur la scène* (c. 1879), a Joan Miró from 1942, and a Frida Kahlo painting with a storied exhibition history.
Greece has enacted a comprehensive new law to combat art crime, establishing a specialized unit within the Ministry of Culture to target forgery, antiquities trafficking, and vandalism. The legislation introduces significantly harsher penalties, including fines up to €300,000 and prison sentences of up to 10 years, while expanding the scope of criminal activity to include the mere possession of forged works with intent to distribute.
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.
The Institute of Contemporary Art in Philadelphia has opened a new exhibition titled "A World in the Making: The Shakers," which places the work of seven contemporary artists alongside over 100 historical Shaker objects. The show, a collaboration with the Vitra Design Museum and the Milwaukee Art Museum, draws heavily from the collection of the Shaker Museum in New York to explore the community's legacy of radical simplicity, order, and purpose.
The fifth edition of the Every Woman Biennial, titled "I Will Always Love You," concludes its run at La MaMa Galleria in New York. Featuring over 200 female and non-binary artists, the salon-style exhibition showcases a diverse range of media including neon sculpture, textiles, and video, alongside a series of high-energy performances. Notable participants include Michele Pred, Nadya Tolokonnikova of Pussy Riot, and Swoon, with the event maintaining its tradition of honoring the legacy of Whitney Houston while providing an inclusive platform for contemporary creators.
The British Museum has revised labels for ancient Middle Eastern artifacts in its Levant and Egypt galleries, removing the term "Palestine." The institution states the changes, part of a review underway for over a year, reflect that the term is no longer historically neutral due to contemporary political sensitivities, particularly following the Israel-Palestine conflict since October 2023. It now uses terms like "Canaan" for ancient regions and United Nations terminology for modern maps.
Artists in the United States are facing heightened repression, including censorship, funding cuts, and deportation threats, during the first 100 days of Donald Trump's second presidential term. The administration's executive orders have targeted cultural institutions, with a campaign to purge the Smithsonian of 'improper ideology' and the gutting of the Institute of Museum and Library Services. Funding for arts grants, particularly those focused on underserved communities, has been canceled or left in limbo, creating a climate of fear and uncertainty.