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Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space
16 October 2024, 21:00
“Toy Garden 1” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, sealed acrylic vitrine, and stainless steel, 20 x 20 x 20 centimeters. All images courtesy of Ant Hamlyn, shared with permission
Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space
October 16, 2024
Art
Kate Mothes
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Encased in transparent cubes and smushed behind panes of acrylic, Ant Hamlyn’s (previously) brilliant blooms and verdant stems are perpetually preserved. Polyurethane-coated fabrics, which he hand-sews and then stuffs, shape a cartoonish view of our predilection to try to harness and preserve things of beauty.
Often focusing on bright botanicals and fungi, Hamlyn’s playful sculptures crush fabric flowers into cases secured with wing nuts or locked with soft padlocks. Captive blossoms, leaves, and terracotta pots appear just barely contained but with no means of escape.
“Vase 4” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters
Two ongoing series, Vases and Toy Garden, examine the relationship between hard and soft, synthetic and organic, and fragility and play. Mashed up against their enclosures, the blooms appear incredibly uncomfortable while also exuding brightness and cheer.
Explore more of the artist’s work on his website and Instagram.
Selection from the series Toy Garden
“Vase 2” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters
“Vase 6” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters
“Vase 3” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters
“Toy Garden 5” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, sealed acrylic vitrine, and stainless steel, 20 x 20 x 20 centimeters
Detail of “Vase 6”
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Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures
16 October 2024, 15:33
Photo by Ign Raditya Bramantya. All images courtesy of Mulyana and Sapar Contemporary, shared with permission
Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures
October 16, 2024
ArtClimatePhotography
Kate Mothes
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From thousands of plastic bags, nets, and hanks of yarn, Indonesian artist Mulyana (previously) illuminates the fragility of marine ecosystems.
In his solo exhibition Remembering Our Collective Future at Sapar Contemporary, the artist has incorporated recyclable materials and distilled the palette to white, evoking a symbol of purity and drawing attention to the consequences of human impact on our oceans, such as coral bleaching.
“Betty 21” (2024), plastic yarn, plastic net, and cable wire, 82 5/8 x 76 3/4 x 13 3/4 inches
Curated by John Silvis, the show invites viewers to reflect on the effects of the climate crisis and the critical importance of environmental preservation. Photographs by Ign Raditya Bramantya highlight a living, breathing embodiment of coral as it traverses the city streets, bringing the ocean to daily life.
Mulyana painstakingly twists, knots, and wraps plastic netting, cable wire, and plastic yarn into sculptures and wall hangings resembling coral and cartoonish sea creatures.
Running concurrently at the Charles B. Wang Center at SUNY Stony Brook, an exhibition of the artist’s vibrant yarn works showcases costumes and characters inspired by marine life. Yarnscapes: Mulyana’s Environmental Tapestries presents a playful counterpoint to the monochrome pieces, nevertheless urging us to remember and evaluate our relationship to our oceans.
Remembering Our Collective Future runs from October 22 to November 20 in New York City, coinciding with Yarnscapes in Stony Brook through December 10. Find more on the artist’s website and Instagram.
Photo by Ign Raditya Bramantya
Photo by Ign Raditya Bramantya
Detail of “Betty 25” (2024), plastic yarn, plastic net, and cable wire, 74 3/4 x 78 3/4 x 13 3/4 inches
“Betty 28” (2024), plastic yarn, plastic net, and cable wire, 86 5/8 x 86 5/8 x 13 3/4 inches
Photo by Ign Raditya Bramantya
Detail of “Betty 26” (2024), plastic yarn, plastic net, and cable wire, 65 x 51 1/8 x 13 3/4 inches
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‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists
16 October 2024, 10:00
Shirin Neshat, “Land of Dreams” (2019), film still. © Shirin Neshat, courtesy of the artist, Gladstone Gallery, and Goodman Gallery, Johannesburg, Cape Town, and London. All images courtesy of Laurence King Publishing, shared with permission
‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists
October 16, 2024
ArtBooksHistoryPhotography
Kate Mothes
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In 1929, sought-after New York fashion model Lee Miller moved to Paris to apprentice with surrealist photographer Man Ray, joining an influential circle of artists. She and Ray worked so closely together, in fact, that many of her photos have been erroneously attributed to him.
Like many women, Miller’s work was often overshadowed by her male counterparts. A new book, The Women Who Changed Photography: And How to Master Their Techniques, marks Miller’s contribution to photography among 49 more groundbreaking artists who incorporated unique techniques blazed a trail for future generations.
Cindy Sherman, “Untitled #577” (2016)
From Zanele Muholi’s bold black-and-white visages to masters of disguise, like French surrealist Claude Cahun (1894-1954) and contemporary artist Cindy Sherman, identity plays a vital role in many of the practices featured.
Iranian artist Shirin Neshat, for example, often delves into the complexities of womanhood within Islamic cultural and religious value systems. Pushpamala N. employs narrative and figuration in images that critique stereotypes of women in India.
Released by Laurence King Publishing last month, The Women Who Changed Photography chronicles the individuals, aesthetics, and approaches that have shaped the field. Grab your copy on Bookshop.
Pushpamala N., “Yogini F-24” (2000–2004) from Native Women of South India: Manners and Customs
Claude Cahun, “Self Portrait (Holding Mask)” (undated)
Julie Cockburn, “Feed the Birds (Women)” (2019)
Shirin Neshat, “Rebellious Silence” (1994)
Julia Margaret Cameron, portrait of Julia Jackson Duckworth (1846-1895)
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14,000 Prescription Lenses Dangle like Dewdrops in a Lush Japanese Forest
15 October 2024, 22:01
All images courtesy of Caitlind r.c. Brown and Wayne Garrett, shared with permission
14,000 Prescription Lenses Dangle like Dewdrops in a Lush Japanese Forest
October 15, 2024
Art
Grace Ebert
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Suspended like a vortex of rain, a new installation from Caitlind r.c. Brown and Wayne Garrett ushers viewers into a shimmering enclosure.
“A Whisper in the Eye of the Storm” dangles 14,000 prescription lenses from a pair of concentric circles. Created for the Northern Alps Art Festival in Omachi City, the site-specific work evokes the region’s historic relationship to water.
Blanketed with heavy snow in the winter and drenched during rainy summers, the city experiences several wet seasons. Situated at the base of the Japanese mountain range, it boasts natural features like lakes, hot springs, and hydroelectric dams. Omachi has also seen its population rapidly dwindle in recent years.
Brown and Garrett have previously worked with found, recycled objects like lightbulbs and telephones. Nested behind Nishina Shrine along the shore of Lake Kizaki, this new piece repurposes eyeglasses that catch and refract sunlight and magnify the surrounding cedar forest, focusing viewers’ gazes on the enlarged natural world around them.
“The work invites visitors to look at the landscape (and each other) with fresh eyes, seeing differently and peering deeply into the ancient and evolving landscape,” the artists say.
“A Whisper in the Eye of the Storm” is on view through November 4. Find more from Brown and Garrett on their website.
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Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony
15 October 2024, 18:52
“Self-awareness” (2024),
veneered plywood, cork, stoneware, porcelain,
patinaed brass, oil painted manicure, wooden vanity,
28 × 61 × 20 inches. All photos by
Pauline Shapiro, © Genesis Belanger, courtesy of the artist and
Pace Gallery, shared with permission
Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony
October 15, 2024
Art
Grace Ebert
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A comb with perfectly manicured teeth, a tote overflowing with groceries and a bitten chocolate cookie, and a vacuum cleaner intent on eating a rug are a few of the peculiar details in Genesis Belanger’s latest exhibition.
In the Right Conditions we are Indistinguishable, on view now Pace Gallery in London, presents fourteen vignettes of everyday life gone awry. Known for her disorienting, sometimes seductive sculptures, the artist continues working with her signature flatness and distinctive visual language, drawing on advertising techniques to critique consumerism plaguing modern life.
“Cause and Effect” (2024), stoneware, powder coated steel, plywood, composite board, sunbrella fabric, silk and cashmere suiting, hardware, 41 × 35 × 53 inches
Belanger’s earlier sculptures revel in pastel hues and the warm textures of ceramic, while this new body of work is more expansive. Bold, saturated colors appear throughout the individual vignettes, like on a cobalt vase and bright pink fruits resting in a squat dish. The artist also incorporates a wider array of materials into these sculptures, including the silk cashmere lining a vacuum cleaner bag and the veneered plywood that structures shelving.
Arousing humor and absurdity from the most banal objects, Belanger invokes excessive desire, gendered expectations, and corporate malaise. “Self-Awareness,” for example, features a disjointed portrait of various objects spread across a wood table. The candlesticks with knotted wicks reference the feeling of working a 9-to-5 job, which she describes as “burnt down and tied in knots,” while the tableaux as a whole nods to self-curation and performance.
“A Breeze Shimmers” (2024), patinaed brass, powder-coated aluminum, porcelain,hardware, 84 × 50 × 45 inches
The artist typically shies away from depicting the human body in full form, instead preferring to represent it through fragmented parts or symbols like food and shapely objects. Fruit often takes on this role, especially in the pair of round, potted sculptures that give credence to natural growth.
These works stand in stark contrast to the flattening effect of “16 Bit Eden,” which layers flowers and cherries atop a grid. Evoking the digital world, the pixelated backdrop questions the contemporary desire to ignore the objects and realities right in front of us.
In the Right Conditions we are Indistinguishable is Belanger’s first U.K. exhibition and runs through November 9. See more of her work on Instagram.
“Husband Material” (2024), porcelain, stoneware, plywood, raincoat fabric, rubber-coated linen18 1/4 × 21 × 16 5/8 inches
“Family Portrait” (2024), veneered plywood, cork, porcelain, stoneware, 45 1/2 × 41 × 11 1/4 inches
“Sentimental Attachment” (2024), stoneware with oil-painted manicure, 25 × 13 × 2 inches
“Managed Expectations (you only deserve a tiny piece)” (2024), veneered plywood, powder-coated steel, cork, porcelain, 30 × 20 1/4 × 7 3/8 inches
“It Always Comes Out in the Wash” (2024), stoneware, porcelain, patinaed brass, and fiberglass,29 × 6 × 32 inches
Installation view of ‘Genesis Belanger: In the Right Conditions we are Indistinguishable,’ Pace Gallery, London (2024). Photo by Damian Griffiths
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A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart
15 October 2024, 13:52
All photos by Agency.WTF, courtesy of Fred Battle, shared with permission
A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart
October 15, 2024
Art
Grace Ebert
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In an old French scrapyard, Fred Battle hits the brakes on a fleet of aging cars. For his 2019 installation “Solara,” the artist painted the exteriors of 144 dilapidated vehicles from the 60s to 90s with vibrant colors. Hoods, roofs, and trunks shine once again with bold hues corresponding to an RGB color value, their codes written on the bonnet.
“I decided to create this color chart by observing the action of the sun on the horizontal surfaces of these cars,” Battle wrote. “As each of these cars has had its proper life as an object, then applying one specific color on each reveals its singularity, its personal and particular use.”
Enveloped by lush foliage, the automobiles are parked in chromatic rows, creating an enormous, outdoor swatch book best viewed from above.
Battle frequently works on walls, vehicles, and canvases, painting bright, dynamic works that grapple with movement, public space, and gathering. Find much more on his Instagram.
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In London, a 15-Foot Flower by Shepard Fairey Advocates for Environmental Justice
11 October 2024, 13:00
All photos by Jonathan Furlong, courtesy of the artist ObeyGiant, shared with permission
In London, a 15-Foot Flower by Shepard Fairey Advocates for Environmental Justice
October 11, 2024
ArtClimateSocial Issues
Grace Ebert
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At 36 Boundary Street in London, a bold new mural rises 15 feet above the street. Anchored by scales atop a small seedling, the public artwork by Shepard Fairey addresses environmental justice and our responsibility to care for the planet.
“I believe that our individual and collective actions will dramatically impact current and future generations, be it for the better or for the worse. It is our responsibility as the citizens of Earth to protect it,” the artist said.
A series of workshops with young Londoners inspired the bright, graphic motif. The group was interested in expanding access to green space and reducing air pollution, and given the recent convening of the United Nations General Assembly focusing on international cooperation, connection between countries and cultures was top of mind.
The project was produced by Charlotte Pyatt, Simon Butler, and Migrate Art, which has raised more than £2.1 million in the last decade through creative projects in refugee camps in France and Northern Iraq, with the Indigenous Xingu people in the Amazon, and in collaboration with U.K.-based charities feeding London’s unhoused population.
Find more from the artist on his website.
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A Vibrant Ndebele Mural by Esther Mahlangu Illuminates Unity at Serpentine North
10 October 2024, 18:30
“Umuntu ngumuntu ngabantu” (2024), Serpentine North Garden. Photo by George Darrell. Image courtesy of Serpentine and The Melrose Gallery, shared with permission
A Vibrant Ndebele Mural by Esther Mahlangu Illuminates Unity at Serpentine North
October 10, 2024
Art
Kate Mothes
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For more than eight decades, Dr. Esther Mahlangu has been creating large-scale, site-specific works that draw on the artistic traditions of Ndebele culture.
Known for her vibrant, patterned compositions, Mahlangu learned techniques for decorating houses from her mother and grandmother while growing up in South Africa. She mixes natural pigments with clay, soil, and cow dung to paint directly on the exteriors of structures in her village.
Photo by George Darrell
Ndebele house painting emerged in the mid-18th century when the matrilineal tribe began to build huts out of mud rather than grass. Women applied colorful patterns to the walls to not only brighten the village but also communicate with others.
The geometric shapes, characterized by bold, black outlines, serve as a visual language to express personal values, prayers, or major life events.
Mahlangu paints by hand without using stencils or masking tape, employing chicken feathers and various brushes to create painstaking geometries that preserve a handmade quality. Over time, she has also created numerous works on canvas, using acrylic to broaden the range of hues in her work.
Esther Mahlangu photographed by Clint Strydom, courtesy of The Melrose Gallery
At Serpentine North in Hyde Park, London, Mahlangu’s first installation the U.K. was unveiled this week on a wall in the gallery’s garden.
Comprising six wooden panels, the monumental mural celebrates unity and community and taps into an Ndebele philosophy: “Umuntu ngumuntu ngabantu,” which translates to: “I am because you are.”
The mural remains on view through September 28, 2025. Plan your visit on the Serpentine website, and learn more about Mahlangu’s remarkable work and career on her website and Instagram.
Photo by Clint Strydom, courtesy of The Melrose Gallery
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Aurelia Butler

More stories

Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space

Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures

‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists

14,000 Prescription Lenses Dangle like Dewdrops in a Lush Japanese Forest

Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony

A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart

A Vibrant Ndebele Mural by Esther Mahlangu Illuminates Unity at Serpentine North

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