Stories

Museums and galleries may be closed, but the world of art remains vibrant and accessible through E.H. Gombrich’s timeless introduction to *The Story of Art*. In this engaging excerpt, Gombrich challenges traditional notions of “Art with a capital A,” reminding us that art is about artists and personal experience rather than rigid definitions. He encourages us to appreciate all kinds of beauty—from Rubens’ proud portraits to Dürer’s unvarnished realism—and to remain open to new perspectives on color, form, and representation. Through insightful examples and a warm, scholarly tone, he invites readers to embark on a journey of discovery, shedding prejudices and seeing art and nature with fresh eyes. This passage celebrates the joy of truly observing and understanding art beyond labels, promising an enriching adventure for all who dare to look deeply.

The Impressionists forever changed how we experience art by capturing not just landscapes but the fleeting sensations of light, atmosphere, and modern life. Emerging from their 1874 Paris exhibition, these artists—led by figures like Monet and Pissarro—focused on painting the mood and moment rather than precise topography, challenging traditional expectations with their "sketch-like" style. Monet’s iconic Impression, Sunrise symbolizes this shift, emphasizing the ephemeral effects of color and light over exact detail. The movement also embraced the dynamic urban environment of Haussmannized Paris, depicting its boulevards and bustling life through the detached eyes of the flâneur. Despite initial criticism, the Impressionists gained recognition for their fresh, personal vision of nature and city life, reminding us today of the profound beauty found in everyday moments spent outdoors, whether under the sun or in the soft glow of a café.

In 1991, Yoshitomo Nara created his iconic painting, The Girl with the Knife in Her Hand, introducing the captivating motif of big-headed girls that would define much of his work. Rooted in his childhood in rural northern Japan and influenced by Shinto beliefs and the protective figure of Jizō, Nara’s art intertwines innocence with subtle menace. His portrayal of childlike figures, embodying the complex Japanese concept of kawaii—ranging from pitiable to beloved—brims with dark humor and emotional depth. The girl’s innocent yet unsettling stare, coupled with the small knife she holds, challenges viewers’ perceptions, blending cuteness with an ambiguous threat. Nara’s work aims to evoke empathy and connection, transcending mere aesthetics to probe the tensions between vulnerability and power in contemporary culture.

Adrián Villar Rojas’s monumental installation, The Most Beautiful of All Mothers, reimagines a post-Anthropocene world where life has returned to its primordial origins, rising from the sea as strange, haunting creatures. Situated on Büyükada Island by the shore of Leon Trotsky’s former house—where the exiled revolutionary once dreamed of a global proletarian uprising—this evocative work features over twenty-nine animal sculptures crafted from diverse materials collected from across the globe. Curated by Carolyn Christov-Bakargiev for the 2015 Istanbul Biennial, the piece embodies a powerful blend of sci-fi imagination and ecological anxiety, inviting viewers to contemplate a future after humanity’s collapse, where nature’s resilient inhabitants reclaim the earth, indifferent to human fate.

Argentinian artist Adrián Villar Rojas challenges the permanence of contemporary art by creating large-scale sculptures that embrace decay and entropy, reflecting on humanity’s impact on nature and the passage of time. From his early playful adaptations of toys to haunting installations like My Dead Family, a whale sculpture that cracks and erodes, and The Most Beautiful of All Mothers, featuring animal figures rising from the Bosphorus, Villar Rojas explores themes of mortality, ecological crisis, and cultural memory. His works, often ephemeral and collaborative, draw on organic and industrial materials to evoke a future shaped by the Anthropocene, while also questioning museum hierarchies and historical narratives. By designing art intended to degrade, he invites us to reflect on legacy, survival, and the fragile traces we leave behind.

Barbara London, founding curator of MoMA’s video art program, reflects on her encounters with Nam June Paik, a pioneering video artist whose experimental approach revolutionized the medium. From his cluttered studio filled with wires and magnets to his ambitious vision of shaping the TV screen as an artistic canvas akin to the masters of painting, Paik pushed the boundaries of video art with inventive techniques and a playful spirit. His groundbreaking work, like the 1973 piece Global Groove, combined rapid-fire editing with diverse cultural elements, capturing and transforming the attention of viewers and broadcast engineers alike. Collaborating with technician Shuya Abe, Paik developed innovative tools such as the video synthesizer that expanded the possibilities of visual effects. Barbara London celebrates Paik’s legacy as a visionary who made video art both accessible and profoundly influential, securing its place as an enduring and dynamic art form.

In her captivating new book, Barbara London, founding curator of MoMA’s video program, recounts the pioneering journey of video artist Bill Viola, who as a youth marveled at the futuristic technology of the 1964 World’s Fair. Blending high-tech innovation with deep spiritual influences—from Renaissance art to Persian mysticism—Viola masterfully uses video to explore timeless themes of solitude, faith, and inner strength. London highlights Viola’s groundbreaking 1985 MoMA retrospective, featuring the evocative installation *Room for St. John of the Cross*, which merged modern video and sound technology with the poignant story of a 16th-century mystic. This work not only elevated video art into the realm of profound emotional and philosophical expression but also marked a pivotal moment in MoMA’s embrace of the medium, celebrating its power to convey the depth and grace traditionally reserved for classical forms.

Long before the digital surveillance revelations of today, artists were already grappling with the implications of being constantly watched, as highlighted in Barbara London’s new book, *Video/Art: The First Fifty Years*. From the early 1980s German filmmaker Michael Klier’s video using actual surveillance footage, to Julia Scher’s pioneering work on predictive behavior and social control through her installations in places like the San Francisco Museum of Modern Art, artists have explored how surveillance shapes public and private life. Scher’s evolving project *Predictive Engineering* cleverly plays with viewers’ perceptions—sometimes tricking them with pre-recorded footage—to comment on the pervasiveness of surveillance long before such ideas became mainstream in public policy or social media. Her ongoing updates to the work illustrate the challenges and importance of preserving media art as a reflection of our shifting relationship with privacy, control, and technology.

In the late 1970s, as electronic technologies evolved, curator Barbara London championed pioneering artists who used music and video to critique society, despite museums’ reluctance to embrace punk, graffiti, and sound-based art. Recognizing the groundbreaking work of figures like David Bowie, Captain Beefheart, Laurie Anderson, and the avant-garde collective The Residents, London fought to include their multimedia creations in MoMA’s archives, anticipating their lasting cultural impact. Her efforts highlighted the dynamic intersections of video, performance, and music, with The Residents’ darkly inventive, satirical works becoming emblematic of this fertile new artistic territory. London’s dedication ensured these once marginalized voices earned their place in art history, celebrating a vibrant era of cross-genre innovation documented in her book *Video/Art: The First Fifty Years*.

Video art, an avant-garde medium deeply shaped by television’s evolution, is explored in Barbara London’s new book, Video/Art: The First Fifty Years. London, the founding curator of MoMA’s video art program, highlights the 1990s wave of young artists influenced by MTV and DIY aesthetics, including Cheryl Donegan, whose provocative work blended feminist politics with punk and pop culture. Donegan’s iconic video Head (1993) challenges traditional portrayals of sex, labor, and gender with irreverent humor and irony, confronting criticisms from feminist peers while carving out a bold, lasting space within video art. London’s book chronicles video art’s transformation from a niche practice to a major contemporary medium, tracing its journey from analog beginnings to digital innovations and reaffirming its cultural significance today.

In 1975, MoMA began acquiring pioneering video artworks, marking video as the first new medium in their collection since film. Among these groundbreaking pieces was Martha Rosler’s Semiotics of the Kitchen, a striking six-and-a-half-minute video in which Rosler performs the alphabet using culinary tools, transforming a kitchen setting into a powerful critique of gender roles, mass media, and societal expectations. This innovative work exemplifies how early video artists challenged the rigid formats of television and blurred the lines between popular culture and high art, laying the groundwork for identity politics and critical discourse on inequality that continues to resonate today.

Michele Robecchi, a seasoned writer and curator based in London, shares his curated selection of standout contemporary artworks currently available on Artspace. From Gianni Motti’s provocative use of cash as art to Ceal Floyer’s minimalist reflections on personal struggle, and Pope .L’s witty societal critiques, each piece offers a unique entry point into the art world. Highlights include Adel Abdessemed’s hauntingly colorful nod to Abstract Expressionism, Mario Schifano’s pioneering European Pop Art, and Lorraine O’Grady’s powerful newspaper-cutout poems addressing gender and race. Robecchi also celebrates artists like Nari Ward, Pipilotti Rist, Elizabeth Catlett, and Sister Mary Corita Kent, whose diverse works range from social justice themes to poetic visual narratives, showcasing the rich, multi-layered conversations contemporary art can ignite.

Barbara London, former curator at MoMA, reflects on her pioneering journey in video art from the 1970s to today, chronicled in her new book *Video/Art: The First Fifty Years*. She shares fascinating stories—from receiving quirky artist tapes like one featuring a dead chicken, to the early rivalry between filmmakers and video artists, and the vital role collaborations with musicians and interdisciplinary creators played. London highlights the technical challenges and innovations that shaped the medium, the importance of preserving early video works amidst evolving technology, and the open, dynamic New York art scene that nurtured this groundbreaking art form. Her firsthand accounts offer a compelling glimpse into how video art grew from experimental fringes to a celebrated contemporary medium, while she continues to explore what the future holds.

Harland Miller, known for his melancholic and hard-boiled persona, draws heavily on his roots in York, the city where he grew up, despite his international career in Brooklyn, Paris, and London. His upcoming largest solo exhibition, "Harland Miller: York So Nice They Named It Once," at York Art Gallery from February to May 2020, showcases works reflecting his connection to York and Yorkshire’s culture, including his Pelican Bad Weather Paintings and the recent Letter Painting series inspired by medieval manuscripts. The exhibition reveals a nuanced, wry affection for his hometown, blending his signature appropriation style with local themes. For those unable to attend, his comprehensive monograph, "Harland Miller: In Shadows I Boogie," offers an engaging insight into his art and story.

French artist Jean-Michel Othoniel’s partnership with renowned architect and collector Peter Marino has transformed commercial sculpture by blending artistry with luxury retail design. Initially struggling financially despite his European gallery success, Othoniel found new creative freedom through Marino’s commissions for flagship Chanel stores, producing monumental glass pearl sculptures that challenged both technical limits and his own artistic scope. This collaboration pushed Othoniel from intricate, delicate works toward grand, architectural-scale pieces, demonstrating how art and commerce can fuel innovation. Othoniel’s latest solo exhibition is on view at Perrotin in Shanghai, while his impressive large-scale sculptures continue to captivate visitors in Chanel’s iconic retail spaces worldwide.

Barbara London’s new book, *Video/Art: The First Fifty Years*, traces the evolution of video art from its radical 1960s origins to its status as a leading contemporary art form today. Drawing on her extensive experience as MoMA’s founding video curator, London explores how video artists like Nam June Paik, Laurie Anderson, and Bill Viola broke away from traditional filmmaking to create immersive, interactive audiovisual experiences. The book highlights the medium’s political significance, its intersection with consumer electronics, and its vibrant cultural impact, blending personal insights with a rich history of artists, artworks, and technological shifts. Perfect for art lovers, cinephiles, and pop culture enthusiasts, this compelling narrative reveals how video art has become an essential thread in the tapestry of modern creativity.

John Pawson’s new book, *Anatomy of Minimum*, captures the serene simplicity and meticulous precision that define his architectural style, revealing a journey shaped by relentless determination and evolving perspective. Reflecting on four decades of work, Pawson shares candid insights into his early fiery drive, transformative collaborations with clients like Calvin Klein, and the lessons learned from missteps and creative conflicts. From intimate domestic projects to grand public spaces, including his own rural home and the iconic Design Museum, Pawson’s designs balance rigorous craftsmanship with a deep respect for materials and light. Despite shifting energy and tempered enthusiasm at 70, Pawson remains passionate about learning and shaping spaces that resonate both functionally and emotionally, illustrating how architecture is both a personal and collaborative journey.

Nick Bonner, a British lecturer and filmmaker, has amassed one of the largest collections of North Korean art, focusing on woodblock and linocut prints that depict everyday life in the DPRK. Since his first visit in 1993, Bonner has collected nearly a thousand pieces, revealing a gradual evolution in style from minimalist monotones to vibrant, detailed works. This unique art form, often described as Juche Realism—a North Korean take on Socialist Realism—celebrates the working class and serves ideological purposes rather than pure artistic expression. Despite its propagandistic nature, the art holds a distinct beauty and reflects the country's culture and political ethos. While there is little international market or understanding of North Korean art, Bonner’s collection, featured in his book *Printed in North Korea*, offers rare insight into the lives of the country's people and the artists who create under strict state control, blending tradition with limited personal expression within a controlled system.

Calvin Tomkins has spent nearly six decades profiling the most influential figures in contemporary art for The New Yorker, capturing not just their work but the complex human stories behind the artists. His new six-volume anthology, The Lives of Artists, brings together 82 of these compelling profiles, offering rich insights into the creative minds shaping art history. Among these intimate portrayals is the nuanced account of painter John Currin and sculptor Rachel Feinstein’s marriage—a blend of contrasting personalities that fuels their creativity and resilience. Tomkins reveals both the inspiring support Feinstein provides during Currin’s struggles and the personal battles he faces, painting a vivid picture of an artist’s journey through triumphs and challenges. This collection is a must-have for art lovers who want to understand the passion, struggles, and humanity behind great art.

Jonas Wood’s new limited edition print, *Bball Studio* (2019), beautifully captures the nostalgia and creative evolution of his original studio from 2007, where he transformed from a small studio painter into an artist working with a team. This etching, produced by Wood’s own studio and signed in a numbered edition of 200, revisits the original drawing used for the cover of his Contemporary Artist Series book, offering a glimpse into his artistic process with floating basketball motifs. Accompanied by a hardcover monograph and a silkscreened tote bag, the edition supports Creative Growth, a nonprofit aiding artists with disabilities. Wood reflects on how his studio was a dynamic space of work, play, and family life, making this print a true blueprint of his creative journey and personal history.

Los Angeles painter Jonas Wood’s frequent inclusion of tropical plants in his work reflects a deep connection to Californian modernism, where European Bauhaus influences blend with the region’s sensuous natural environment. As explored by Met curator Ian Alteveer, plants like the philodendron became iconic in mid-century modernist architecture, symbolizing an aesthetic that fused indoor and outdoor living. Wood’s paintings, including his series Clippings, echo this tradition through stylized botanical forms that honor modernist principles of shape and repetition, drawing inspiration from artists like Alexander Calder and David Hockney. Beyond a simple love of horticulture, Wood’s art celebrates the legacy of modernism’s integration of art, life, and environment, making his work a vibrant continuation of this bold, experimental movement.

Jean-Michel Othoniel, the French sculptor renowned for his intricate and vibrant glass artworks, creates pieces that beautifully balance themes of fragility, transformation, and loss. From his cultural upbringing in the industrial town of Saint-Étienne to his formative years in Paris and eye-opening experiences in New York, Othoniel’s journey is marked by a profound sense of freedom and artistic exploration amid the era’s social upheavals. His unique vision propelled him from intimate gallery pieces to monumental public commissions worldwide, including iconic works like Kiosk of the Nightwalkers in Paris and 114 fountain sculptures in Qatar. Navigating the challenges of the art market and personal solitude, Othoniel remains a singular, innovative artist who encourages others to embrace their uniqueness, viewing solitude not as isolation but as a vital space for creative discovery.

Jonas Wood’s artistic vision is deeply shaped by his family’s rich creative heritage, particularly the impressive art collection amassed by his grandfather, Dr. Israel J. Rosefsky, a paediatrician turned painter and collector of masterpieces by Francis Bacon, Roy Lichtenstein, Picasso, and more. Wood’s work pays heartfelt homage to these influences, seamlessly weaving references to iconic artists like Picasso, Matisse, Warhol, and Albers into his vibrant paintings. Unlike mere appropriation, Wood’s reproductions reveal an intimate, earnest connection to the masters, embodying a genuine respect and affection that fuels his unique style. Through this blend of homage and innovation, Wood invites viewers to rediscover the power and beauty of these celebrated artists, while confidently asserting his own creative voice.

In North Korea, schoolchildren’s report cards and rankings extend beyond academics to shape lifelong social and professional competition, reflecting the country’s rigid ideological system. Nicholas Bonner’s book *Printed in North Korea: The Art of Everyday Life in the DPRK* reveals how student monitors embody socialism’s moral values, and how school trips emulate historical pilgrimages honoring the nation’s leaders. Artworks depicting children at play offer rare glimpses of innocence untouched by state propaganda, highlighting a human side amid strict societal control. Featuring unique prints from the 1950s to today, the collection captures the rich cultural fabric of a largely hidden society through the eyes of its artists, revealing everyday life in a land often seen only through political lenses.

American painter Jonas Wood draws a unique connection between sports and art, channeling his passion for athletes and competition into vibrant, stylized portraits and imagery. Growing up in Boston amid the Celtics' glory days, Wood found in sports a rich source of inspiration, appreciating the discipline, practice, and emotion shared by both athletes and artists. His sharp-lined, colorful works transform familiar sports motifs into a meditation on repetition, everyday life, and dedication. Praised by curators and embraced by major galleries, Wood’s art merges his love for sports with a rigorous artistic practice, creating a captivating dialogue where passion and perseverance intersect.

In North Korea, even seemingly serene landscapes are charged with revolutionary significance, reflecting the deep intertwining of art and politics. The new book *Printed in North Korea: The Art of Everyday Life in the DPRK* reveals how nature scenes, while visually appealing, serve as powerful symbols of the nation’s history and leadership, depicting iconic sites like the Chongbong Bivouac where Kim Il Sung’s revolutionary army once camped, or the Ulim Waterfall, transformed into a patriotic emblem by Kim Jung Il’s regime. These artworks, alongside vivid portrayals of everyday workers, offer a rare and fascinating glimpse into the culture shaped by North Korea’s political narrative, showcasing the extraordinary talent of its artists within a tightly controlled social and ideological framework.

Boston-born, LA-based artist Jonas Wood is renowned for his vibrant, flat paintings that blend influences from family photos, sports imagery, and modern art traditions. In a revealing interview with fellow painter Mark Grotjahn, Wood shares his unapologetic approach to ignoring classical perspective, his respect for artistic forebears like Picasso and Mondrian, and his journey from quitting his job to making a breakthrough solo show in New York. He also discusses the personal significance behind his work, including the influence of his wife’s ceramics and his choice to feature accessible subjects like athletes rather than family portraits. A thoughtful and candid artist, Wood embraces a diverse range of materials and styles to create works that challenge convention while celebrating modernism’s evolving legacy.

French founders Victor Lugger and Tigrane Seydoux have captured the heart and soul of Italian dining with their Big Mamma group, creating vibrant restaurants across France and Great Britain that channel the warmth and generosity of authentic Italian trattorias. Their debut cookbook, Big Mamma Cucina Popolare, shares the passion behind their culinary journey—offering recipes infused with the flavors of Italy, the joy of togetherness, and the magic ingredient of love. From carefully sourced ingredients and youthful Italian chefs to mouthwatering dishes like Burratelli and Tigramisu, every page invites home cooks to recreate the spectacular yet simple pleasures of Italian cuisine rooted in happy memories and genuine care.

Lucian Freud: A Life offers an intimate portrait of the legendary British painter through rare photographs, family snapshots, and candid moments captured in his final weeks. The book reveals Freud’s relentless dedication to his craft, standing and painting every day, fueled by discipline, fitness, and a sharp mind that shunned distractions like excessive drinking. Through insights from David Dawson, Freud’s assistant and close companion, we glimpse a man who worked seven days a week, blending intense focus with a love of good food and jazz, while pushing the limits of his willpower to sustain a prolific late career. Far from succumbing to age or mortality, Freud remained vibrant and engaged, his art a testament to his passionate, unyielding approach to life and painting.

Swedish photographer Lennart Nilsson’s groundbreaking 1965 images of a thirteen-week-old human fetus gave the world an unprecedented, intimate glimpse into life before birth, captivating millions and shaping perspectives on fetal development. While these stunning photographs—some captured during medical procedures, others reportedly taken from miscarried or aborted fetuses—sparked awe and fueled debates, including the anti-abortion movement, they also carry a complex legacy. Nilsson’s pioneering work extended beyond the womb, with his images of viruses and even unborn life sent into deep space aboard the Voyager probes. Explore more remarkable visuals that reveal the human body’s mysteries throughout history in the book Anatomy: Exploring the Human Body.

Architect and collector Peter Marino, renowned for designing exquisite retail spaces for brands like Chanel and Dior, shares the fascinating story behind his passion for French ceramics in Théodore Deck: The Peter Marino Collection. Introduced to these late 19th- and early 20th-century works through a chance friendship with the knowledgeable Alice Stern, Marino fell in love with Deck’s distinctive earthenware, especially the iconic “bleu de Deck” pieces adorned with painted flowers, women, and birds. What began as an overlooked Victorian curiosity blossomed into a treasured collection that highlights the beauty and historical significance of these often underappreciated decorative arts. This book offers an intimate glimpse into Marino’s journey and deep appreciation, enriched with stunning photography and expert insights.

Around 40 years ago, architect and collector Peter Marino discovered a small turquoise vase in Paris that sparked his lifelong passion for the work of 19th-century French ceramicist Théodore Deck. Over four decades, Marino has assembled an extraordinary collection that offers a deep dive into the Belle Époque ceramics movement, hailed as France's most successful decorative art of the 19th century. Deck’s innovative workshop fused traditional techniques with global influences from Japan, China, and the Italian Renaissance, while also embracing a progressive collaboration between artists, chemists, and sculptors to elevate ceramics beyond mere decoration. Recognized internationally in its time, Deck’s work continues to captivate with its ethereal beauty and technical mastery. Marino’s collection will be showcased permanently at his new Peter Marino Art Foundation in New York, and the newly published book *Théodore Deck: The Peter Marino Collection* richly documents this legacy with exquisite photographs and insightful commentary, making it a treasure for collectors, historians, and art lovers alike.

Lucian Freud: A Life offers a captivating visual biography of the renowned British painter, unveiling his world through intimate words, unpublished photos, and striking portraits. Beginning with childhood snapshots and concluding with rare images from his final studio days, the book explores Freud’s artistic evolution shaped profoundly by close friendships with figures like Francis Bacon and Frank Auerbach. Through candid recollections from his longtime assistant David Dawson, we glimpse how Bacon’s bold approach inspired Freud to transform his style, working with loaded brushstrokes and larger canvases, while his close bond with Auerbach fueled brilliant intellectual and poetic exchanges. This rich portrait celebrates Freud’s legacy as one of the most powerful artists bridging the twentieth and twenty-first centuries.

Anatomy: Exploring the Human Body delves into the evolving journey of understanding human anatomy, from ancient battlefield wounds and mystical beliefs to the systematic dissections that challenged long-held dogmas. The article highlights how cultural, religious, and scientific shifts influenced anatomical study, culminating in Renaissance breakthroughs by pioneers like Andreas Vesalius. It traces the progression from visible organs to cellular biology and ponders modern advances such as artificial intelligence and genetic engineering, raising profound questions about the future of human identity and ethics. This rich historical narrative invites readers to appreciate the intricate and sometimes contentious history behind our knowledge of the human form.

Anatomy: Exploring the Human Body is a captivating visual journey through over 5,000 years of humanity’s fascination with the human form, featuring 300 carefully curated works spanning art, science, and history. This richly illustrated book, part of Phaidon’s acclaimed ‘Explorer’ series, offers a fresh perspective on how we’ve depicted and understood our bodies—from ancient depictions like the Venus of Willendorf and Homeric trauma accounts to Renaissance studies by Michelangelo and modern artworks by Damien Hirst. Blending fine art with medical history and cutting-edge science, it traces the evolving anatomy knowledge shaped by cultures from ancient Alexandria to medieval Europe and beyond. A unique mix of classical imagery, anatomical dissections, and contemporary interpretations invites readers to explore what it truly means to be human in a world increasingly influenced by technology and genetic discoveries.

Since winning the TED Prize in 2011, French artist JR has transformed global participatory art through his groundbreaking Inside Out project, which empowers ordinary people worldwide to create and share large-scale black-and-white portraits that amplify diverse social messages. By turning the camera over to communities—from protestors to immigrant laborers—JR has sparked a powerful international network, enabling local voices to reach global audiences while fostering solidarity and visibility around issues like police violence, gun rights, and inequality. His use of expressive portraits, photobooth trucks, and mass collaboration transcends traditional gallery spaces, harnessing the universal language of imagery to inspire change and connect humanity on a profound level.

French artist JR uses large-scale public portraits to spotlight social issues around the world, from immigration and gun control in the US to life in impoverished neighborhoods across Paris, Rio, and Kenya. His empathetic approach gives voice to diverse perspectives without imposing his own, encouraging real conversations through powerful, relatable imagery. Highlighted in the comprehensive new monograph JR: Can Art Change the World?, his projects blend art and activism, transforming communities and provoking reflection. From acclaimed collaborations with cultural icons to intimate portraits of everyday heroes, JR’s work demonstrates how creativity can inspire social change and foster human connection.

Great Women Artists is a groundbreaking, fully illustrated book celebrating over 400 female artists spanning 500 years, from Renaissance trailblazers like Properzia de’ Rossi to contemporary stars like Tschabalala Self. Organized alphabetically, it uncovers forgotten and celebrated women who shaped art history—from pioneers like Artemisia Gentileschi to cultural icons such as Marisol and Alma Thomas—and highlights their lasting impact through vivid imagery and engaging stories. This volume challenges the male-dominated art narrative, reflecting a richer, more diverse evolution of art and inviting readers to discover and champion talented women artists until they receive the recognition they deserve on equal footing with their male counterparts.

Fausto Gilberti’s charming new book, *Yves Klein Painted Everything Blue and Wasn’t Sorry*, offers a clever and quirky biography of the iconic modern artist crafted especially for children. Inspired by his own experiences introducing his young kids to contemporary art, Gilberti uses his distinctive minimal, stickman-like illustrations—reminiscent of Jean Dubuffet and Keith Haring—to bring to life the wild stories and eccentric creations of Klein. The book delivers a witty and lively narrative paired with bold blue splashes that perfectly capture Klein’s irreverent spirit, making the complex world of modern art accessible and engaging for gallery-going families, curious kids, and readers of all ages eager to explore the life of one of France’s most celebrated 20th-century artists.

Since 2017, JR has created monumental participatory murals called Chronicles, inspired by Diego Rivera, that blend hundreds of portraits into powerful narratives addressing cities and social issues. His works have spotlighted places like San Francisco and Paris and tackled topics such as gun ownership, famously featured in Time’s 2018 cover. In his largest solo exhibition, JR unveils The Chronicles of New York City at the Brooklyn Museum, a mural showcasing over a thousand New Yorkers alongside interactive recordings sharing their stories. Running from October 2019 to May 2020, the exhibition includes a rich array of photographs, videos, dioramas, and archival works, marking JR’s first major North American show and celebrating his profound belief in the transformative power of art.

Andy Warhol, a multifaceted artist renowned for his repetitive yet transformative approach, led a life rich with diverse roles and personas. From his early success as an illustrator using his innovative blotted-line technique, to shaping Pop art with his keen eye on 1960s commercial signage, Warhol continuously redefined art and communication. Though famously shy in public, he skillfully conveyed complex ideas and created a universal network of influence, while also dabbling in window displays and filmmaking—his groundbreaking film *Sleep* challenging art and cinema alike. As a socialite and starmaker, he nurtured brief yet iconic relationships, like with Edie Sedgwick, and transformed with fame, adopting the enigmatic persona of “Drella.” Despite the spotlight, Warhol often saw himself as merely the host at his Factory gatherings, where the eclectic crowd gathered to see one another more than the man himself. This exploration celebrates eight compelling facets of Warhol’s extraordinary life and legacy.

Trevor Paglen’s art powerfully captures the essence of our contemporary moment by unveiling hidden landscapes shaped by surveillance and secrecy. After realizing that only an outdated image of the National Security Agency’s Fort Meade headquarters existed publicly, Paglen legally took to the skies in a helicopter to document the building as it stands today—despite the NSA’s attempts to obscure it during his flight. The resulting photograph reveals the NSA not as a menacing fortress but as an ordinary, almost mall-like institution, inviting us to reconsider how we perceive and hold accountable such powerful entities embedded in our daily lives. Through his work, Paglen challenges us to see beyond the surface and engage critically with the invisible systems that shape our world.

Harland Miller’s art captivates with its witty, deadpan titles resembling Penguin paperback covers, but as critic Michael Bracewell reveals, these clever texts are just the starting point of a profound artistic journey. Miller’s works blend literary humor with deep formal exploration, using layered brushstrokes, stains, and abstract expressionist techniques to transform simple book covers into emotional, brooding meditations on painting itself. His large-scale canvases evoke bleak British seaside melancholy while engaging with American artistic traditions like Abstract Expressionism and Pop art, creating a unique mix of irony, nostalgia, and painterly intensity. Through these deceptively straightforward images, Miller invites viewers to look beyond words and appreciate the tactile, psychological complexity of paint as a medium, marrying cultural commentary with a rich visual language that both challenges and delights.

In 1986, Annie Leibovitz captured iconic images of Keith Haring, who was then a vibrant figure in New York’s art and club scenes, blending his pop star charisma with bold, public art. Inspired by an Andy Warhol commission, Haring painted his torso and parts of his body in striking black lines for the shoot, embracing a raw, fearless expression that mirrored the city's gritty energy. The permissive spirit of New York in the 1980s nurtured Haring’s work, allowing him to transform public spaces and challenge norms, from subway art to the intimate, celebratory mural he created for a gay community center to mark the anniversary of the Stonewall riots. This blend of audacity, creativity, and cultural commentary defines Haring’s legacy, reflecting a time when art, identity, and urban life intertwined freely.

Robert Ryman, celebrated minimalist painter known for his profound exploration of paint’s presence and texture, redefined how we perceive art through his focus on the ‘how’ rather than the ‘what’ of painting. Rooted in a deep connection to jazz improvisation and enriched by years studying masterpieces at the Museum of Modern Art, Ryman’s work challenges notions of minimalism by blending ascetic restraint with inventive experimentation. Eschewing emotional struggle in favor of intuitive practice, he likened painting to typing—an act guided by feeling rather than conscious thought. His seemingly simple white-on-white canvases reveal an intricate dialogue with paint itself, inviting viewers to experience the material as rich and charged, making each encounter unique and endlessly compelling.

Harry Bertoia, best known for his iconic 1952 Diamond chair, was a pioneering artist and metalworker whose innovative use of wire and metal transformed both design and sculpture. Born in northern Italy and emigrating to the U.S. at 15, Bertoia combined his admiration for traditional metalwork with the modernist idealism of improving life through design. Working at Knoll in the early 1950s, he embraced wire out of necessity, creating structurally strong yet elegant pieces that extended into his renowned wire sculptures. Later, living in rural Pennsylvania inspired larger nature-themed works in bronze and copper, including stunning dandelion sculptures commissioned for the 1964 New York World’s Fair. Full of warmth, humor, and relentless creativity, Bertoia’s legacy bridges art and everyday life, showcasing how vision and resourcefulness can elevate simple materials into timeless beauty.

Olafur Eliasson’s evocative installation Ice Watch brings the urgent reality of climate change into public spaces by presenting massive glacial ice blocks harvested near Greenland in a striking clock formation. Since its debut in Copenhagen in 2014, coinciding with a major UN climate report, the work has traveled to Paris and now London, where the melting ice on display invites viewers to connect physically and emotionally with the planet’s rapidly changing environment. Collaborating with scientists and philanthropists, Eliasson encourages people to engage deeply—touching, listening to, and reflecting on the ice—to overcome feelings of distance and apathy, fostering a sense of immediacy and shared responsibility for our ecological future.

The Wall Street Journal’s arts section recently celebrated the captivating world of animals through a review of the new book *Animal: Exploring the Zoological World*. Alexandra Wolfe highlights humanity’s enduring fascination with animal imagery, from ancient cave paintings to modern 3D prints, showcasing 300 diverse artworks that capture the beauty and mystery of wildlife. The review particularly praises Sir Edwin Landseer’s iconic *Monarch of the Glen* alongside contemporary pieces like the US Geological Survey’s detailed pollen-covered sweat bee. Victoria Clarke, the book’s editor, reflects on how art allows us to marvel at creatures we can never fully understand, inviting readers to explore the enchanting zoological realm within the pages of this stunning collection.

In 1975, Andy Warhol’s fascination with mortality took a striking form when he incorporated a human skull—purchased in Paris—into his art, transforming a classic symbol of death into an emblematic portrait for all. This macabre yet playful motif evolved into his acclaimed Skulls series of the late 1970s, spanning collages, prints, paintings, and drawings. Unlike his iconic Campbell’s Soup cans, these skulls echoed traditional still-life while hinting at deeper themes of existential reflection, political symbolism, and cultural anxieties like punk rock and the AIDS crisis. Warhol’s repeated use of the skull shifted its chilling associations into an enigmatic experience, blending cold concept with unsettling allure. This haunting yet captivating chapter of his work is explored in detail in The Andy Warhol Catalogue Raisonné, Paintings 1976-1978 - Volume 5.

Andy Warhol, often dismissive of his own creativity, claimed his portraits were just faces without real ideas, yet his inventive work from 1976-1978 reveals a rich artistic vision, as highlighted in the new volume of The Andy Warhol Catalogue Raisonné. Scholars continue to debate his originality, with some describing him as a “walking Gallup poll” who absorbed public ideas and transformed them into his distinctive style. Influential voices like Whitney Museum curator Donna De Salvo and Warhol’s close collaborator Vincent Fremont emphasize how Warhol skillfully blended external influences with his unique sensibility, crafting art that was both culturally resonant and unmistakably “Andy.” This complex interplay between perception and innovation underscores Warhol’s genius, making his later works an essential study in the evolution of contemporary art.

Andy Warhol uniquely captured the zeitgeist of his era by incorporating culturally charged symbols into his art, often drawing from commercial imagery as well as politically potent icons like the hammer and sickle. Inspired by his experiences in 1970s Italy during a turbulent period of political unrest, Warhol transformed these communist symbols into powerful artworks, including his striking Skull series, which referenced fascist imagery. Despite initial resistance from the Italian art scene due to the contentious nature of these pieces, exhibitions like the 1976 show at Leo Castelli in New York demonstrated their lasting impact. Today, these works continue to resonate, showcasing Warhol’s fearless engagement with political and cultural themes that remain provocative and relevant.

Olafur Eliasson’s artistic journey is deeply rooted in his family’s creative legacy and the landscapes of Iceland and Denmark where he grew up. Influenced by his father’s mythological, narrative-driven art and later inspired by the Light and Space movement artists, Eliasson developed a unique relationship with nature that transcends conventional depictions. His works, from the photographic Waterfalls Series to the immersive 2014 Riverbed installation, highlight an experiential approach to the environment, emphasizing the emotional and practical experience of place rather than grand, sublime moments. Eliasson invites us to engage with nature’s nuances, where every step of a journey holds meaning, reflecting his view that no moment in the landscape deserves to be privileged over another.

Wolfgang Tillmans’ early encounters with Britain in the 1980s—marked by its quirky cooked breakfasts, spongy bread, and a subtly charged sexual atmosphere—set the stage for a lifelong passion for bold self-expression and vibrant urban culture. As detailed in a recent New Yorker profile, Tillmans’ teenage years were a mix of English classes, playful transformations in Victoria Station bathrooms, and brief forays into iconic gay nightclubs, painting a picture of youthful daring against the backdrop of small-town German life. Friends from his hometown recall the magnetic “go-for-it” spirit that fueled his adventures and artistic journey, a mindset that continues to illuminate his work decades later.

Kerry James Marshall recently reflected on rapper Sean Combs’ landmark $21.1 million purchase of his painting *Past Times*, highlighting its historic significance as a moment where a Black individual won a major art market competition. Speaking ahead of his *Collected Works* exhibition in Vancouver, Marshall emphasized the growing presence and influence of African American collectors, while reminding us of the deep-rooted challenges Black people have faced in accessing wealth and art ownership throughout history. The Vancouver show features over three decades of Marshall’s powerful sculptures, drawings, and paintings, showcasing why he holds the auction record for the highest price paid for a living African American artist.

US artist Theaster Gates, known for transforming neglected buildings into cultural hubs, is set to revive the legacy of the Johnson Publishing Company this summer at the Stony Island Arts Bank in Chicago. The exhibition, "A Johnson Publishing Story," running from June 28 to September 39, showcases paintings, sculptures, mid-century furnishings, and archival materials from the iconic African-American owned publisher of Ebony and Jet magazines. By recreating spaces like "The Johnson" lounge and displaying works inspired by the archive, Gates highlights the profound impact Johnson Publishing had on African-American representation and emphasizes the importance of preserving these vital stories and cultural artifacts for future generations.

A striking $25,000 painting by Chicago artist Kerry James Marshall recently sold at Sotheby’s New York for an astounding $21.1 million, reflecting both the meteoric rise of the artist and the cultural significance of his work. Known for placing black figures at the heart of grand, epic narrative paintings, Marshall’s 1997 piece from his Garden Project series defies traditional art historical norms by portraying black people engaging in leisure activities typically linked to white upper-class identity, such as golf and water-skiing. Measuring an impressive 290 x 396 cm, the painting challenges and redefines the often exclusionary representation found in museums, offering a powerful corrective that reclaims space for black subjects in world-class art. More than a record-breaking auction result, Marshall’s work is a forceful statement in the ongoing movement for justice within the art world.

TIME magazine's annual TIME 100 List sparks debate every year, but some inclusions are undeniably deserving, like French artist and activist JR. Celebrated for his powerful public art that bridges cultural divides, JR transforms communities through giant photographs that create meaningful encounters worldwide. Notable projects include his Oscar-nominated documentary *Faces Places* and a poignant installation on the U.S.-Mexico border that humanizes immigration issues. Partnering with Laurene Powell Jobs on the Inside Out/Dreamers project, JR has empowered communities to advocate for social change through compelling visual storytelling. His work challenges perceptions and fosters connections that resonate far beyond the art itself.

Narcissus, the beautiful youth from Greek mythology who fell entranced by his own reflection, has inspired artists across centuries to explore themes of vanity and self-obsession. Caravaggio’s hauntingly realistic painting captures the tragic cycle of Narcissus’s self-love, while Lucien Freud’s 20th-century depiction emphasizes the intense gaze of the self-absorbed figure, offering a modern psychological depth. Salvador Dalí’s surreal 1937 masterpiece weaves multiple moments of the myth into one canvas, using striking visual illusions to tell the full story of Narcissus’s transformation and the sorrow of his rejected lovers. These diverse interpretations reveal the timeless allure of Narcissus’s tale and its enduring presence in art, as explored in the new book *Flying Too Close to the Sun: Myths in Art from Classical to Contemporary*.

The late Jack Whitten created powerful abstract works that conveyed profound social narratives rooted in his experience as an African-American artist from the segregated South. His later pieces, predominantly black and silver, evoke landscapes of destruction and rebirth, blending past and future. Whitten’s legacy resonates strongly with fellow abstract artist Mark Bradford, whose sprawling, collage-like works reflect urban flux and creative destruction. Bradford’s latest exhibition at Hauser & Wirth in Los Angeles features vibrant new pieces layered with printed materials pulled from the city’s streets, some with playful comic book-inspired titles. Among them, "Moody Blues For Jack Whitten" stands out as an homage to his friend, capturing rhythmic blue tones initiated before Whitten’s passing. Bradford admires Whitten’s dedication to the craft and his role as a pioneering African-American abstract painter, embodying a lineage of deeply engaged and process-driven artistry.

Wolfgang Tillmans, the acclaimed photographer and political activist, once hoped that discovering Earth-like planets and potential extraterrestrial life would challenge religious views and usher in a new era of humility, much like Copernicus's revolution. However, despite advancements in space exploration, faith communities remained unchanged, prompting Tillmans to explore the roots of political polarization and the appeal of right-wing movements like Trump and Brexit. Drawing on insights from cognitive science and philosophy, he highlights how emotions such as disgust fuel ideological divides, while voices like Carolin Emcke suggest that irony, ambivalence, and playfulness might be the best tools to counter fanaticism and protect open democracy. Ultimately, Tillmans invites us to engage with serious issues not just with conviction, but with joy and creativity.

LA artist Mark Bradford creates massive, fraying cartographical works that explore urban disintegration and race dynamics, using maps not as tools of idealized order but as testimonies to social breakdown. His 10-meter-long piece Helter Skelter I (2007), composed of found street materials and named after the Beatles song linked to the infamous Charles Manson cult, powerfully evokes a divided city fraught with tension. Now owned by tennis legend and collector John McEnroe, this striking black-and-white work is set to headline Phillips' upcoming auction in London with a record estimate of £6-8 million, reflecting both its cultural significance and monumental scale. As McEnroe notes, such a piece truly belongs in a museum where its profound message can be widely appreciated.

Founded in 1995 by the late Maggie Jencks, Maggie’s Centres offer vital support for people with cancer through thoughtfully designed spaces that contrast the clinical feel of hospitals. Steven Holl’s latest Maggie’s Centre at St Bart’s Hospital in London exemplifies this mission with its serene architecture, inspired by medieval musical notation symbolizing a “breath of life.” Constructed from concrete, bamboo, and matte glass, the luminous three-story building features a kitchen, counseling rooms, a library, and a rooftop garden, all united by Holl’s masterful use of colored light that shifts with the time of day, creating an uplifting, joyful sanctuary for visitors and staff alike.

John Pawson, the renowned British architect and designer, extends his minimalist vision beyond buildings to photography, capturing everyday scenes with a careful, understated elegance. His new book, Spectrum, showcases a diverse collection of images arranged by color—from serene mediterranean landscapes to humble textures like worn brick walls and weathered clapboards. Rather than spotlighting grand vistas, Pawson’s photos invite viewers to appreciate quiet beauty and subtle details, reflecting his belief that “God is in the details.” Spectrum offers a serene, thoughtfully curated journey through the colors and forms that define Pawson’s unique artistic perspective.

Jenny Holzer, renowned for her powerful use of language in public art, has created a poignant AIDS memorial in New York City’s Greenwich Village, near the historic site of St. Vincent’s Hospital, a focal point of the city’s AIDS epidemic. The memorial features engraved granite pavers with selections from Walt Whitman’s “Song of Myself,” celebrating life, the human body, and unity beyond death—an inspired choice reflecting the spirit and resilience of the LGBT community most affected by the epidemic. Holzer, who no longer uses her own words in her art, collaborated with poets to adapt Whitman’s text for this heartfelt tribute. As part of a modern approach, she is also developing an app to augment the memorial, allowing users to engage with memories and poetry digitally. Addressing the ongoing challenges of AIDS and contemporary cultural conflicts, Holzer underscores the enduring need for compassion, openness, and remembrance in the face of this continuing epidemic.

John Currin, a figurative painter known for his stylized approach, often blurs the line between reality and imagination, as seen in his 2003 work Thanksgiving, which was modeled by his wife, artist Rachel Feinstein. Embracing the High Renaissance mannerist style, Currin distorts proportions to create a hauntingly beautiful but unsettling scene, where the figures appear fragile, the flowers wilted, and the turkey eerily pale. The painting reflects both life and death, resonating with Currin's experience as an expectant father, while also echoing the complexity found in Ludovico Carracci’s Baroque masterpiece The Lamentation, which Currin admires for its blend of realistic and stylized elements. This duality enriches Currin’s art, capturing a mysterious presence that feels both alive and otherworldly.

Art historian Vittorio Colaizzi sheds light on the distinctive nature of Robert Ryman’s work, emphasizing that Ryman’s pieces transcend conventional ideas of paintings or pictures. Rather than focusing on representational masterpieces, Ryman’s art is about the materiality and experience of painting itself, inviting viewers to engage with each work as a dynamic encounter. Colaizzi highlights the importance of proper display conditions—ample space and natural light—to truly appreciate Ryman’s minimalist, elemental approach, with notable collections at Dia:Beacon, the Pennsylvania Academy of Fine Arts, and the National Gallery of Art. Embracing Ryman’s philosophy that it’s “not the what, the how,” these works continue to resonate, carrying forward the legacy of 20th-century abstraction into the present.

Robert Ryman, renowned for his abstract paintings rendered almost entirely in white, challenges conventional expectations of art by focusing on the materiality and process of painting rather than imagery. Art historian Vittorio Colaizzi highlights that Ryman’s work invites viewers to experience painting akin to sculpture—appreciating texture, form, and the physical space it occupies—rather than searching for narrative or elaborate visuals. Ryman redefines painting as a performative act, emphasizing the unique application of paint that creates a tangible, continuous space linked to our own. This approach not only questions traditional abstract notions but also underscores Ryman’s continued relevance in contemporary art, as he crafts striking images through pure process and material exploration.

Contemporary painter John Currin offers a fresh perspective on Ludovico Carracci’s The Lamentation, seeing in it a compelling blend of mannerist stylization and naturalistic detail that transcends traditional religious interpretation. Raised outside the church, Currin approaches the piece as both an artistic and spiritual exploration, appreciating how Carracci’s intentional tensions between realism and stylization create a paradoxical presence that feels both alive and lifeless, much like the figure of Christ himself. This interplay between the real and surreal, the deep and flat, reveals an enduring magic in painting—a dynamic struggle captured centuries ago that continues to resonate in modern art.

Renowned artist Alex Katz reflects on his enduring journey from a determined art student sketching subway commuters in 1940s New York to a celebrated painter known for his bold, muscular style and signature clarity of line. Katz shares insights into his meticulous creative process, balancing large brush strokes with carefully premixed colors, and his knack for capturing powerful, image-driven paintings that hold their own in the art world. Remembering his time at Cooper Union amid jazz-filled nights and a fierce drive to excel despite self-doubt, Katz reveals how those formative years shaped his unique approach, setting him apart from the modernist trends of his era. With candid reflections on both his masterpieces and near misses, plus admiration for fellow artists like Marlene Dumas, Katz’s story is a vibrant testament to passion, persistence, and artistic evolution, celebrated in a current exhibition at Timothy Taylor in London.