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sam barsky sweaters kohler r u still painting 1234748203

Sam Barsky, a self-taught knitter who learned from a library book in 1999 after dropping out of nursing school due to chronic illness, creates intricate pictorial sweaters entirely freehand without patterns. His sweaters depict landscapes and landmarks—such as Central Park, the London Bridge, and the Twin Towers—and he often photographs himself wearing them at the actual sites. His first museum solo exhibition, “It’s Not the Same Without You,” recently closed at the John Michael Kohler Arts Center in Wisconsin, and his work also appeared in the group show “R U Still Painting???” in Manhattan alongside artists like assume vivid astro focus and Uri Aran.

about last week an orbit through the highs and sighs of new yorks art fair multiverse

Writer and critic Domenick Ammirati chronicles a whirlwind week in New York during Frieze Week, visiting art fairs, exhibitions, and social events. Highlights include Jeff Koons' Hulk sculptures at Gagosian's Frieze booth, discovering painter Karol Palczak at Emalin gallery, and attending the group painting show "R U Still Painting???" curated by the collective FALCON in a raw Midtown office space. Ammirati notes a subdued, less intoxicated atmosphere compared to previous years, reflecting a broader unease in the art world.

Have we reached peak painting?

The article examines the enduring dominance of painting in the art world, despite repeated predictions of its demise. It cites record-breaking sales—Leonardo's *Salvator Mundi* ($450m), Jasper Johns's *Flag* ($110m), and Marlene Dumas's *Miss January* ($13.6m)—and highlights the upcoming Jenny Saville survey at the National Portrait Gallery in London. The Turner Prize shortlist includes painter Mohammed Sami, whose work *Poor Folk II* sold for $571,500 at Sotheby's, far exceeding estimates. Exhibitions like *Painting after Painting* at SMAK in Ghent and *R U Still Painting???* in New York explore how artists continue to use the medium, with curators and market figures affirming painting's resilience.