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With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

by Aurelia Butler 17 April 2025, 14:56

Ana María Hernando, “El intento del agua/The Intent of Water” (2025), tulle, wood, metal lattice, felt, velvet. All images courtesy of BravinLee, shared with permission

With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

April 17, 2025

ArtCraft

Grace Ebert

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The monumental textile exhibition that took over an 18th-century warehouse last spring is back for a second iteration.

In the South Street Seaport area of Manhattan, The Golden Thread 2: A Fiber Art Show returns with more than 100 artworks made by 60 artists from around the globe. As with the first iteration, this reprisal includes eight site-specific installations that respond to the former mercantile space.

Tomo Mori, “(we) keep going” (2025), donated fabrics, used clothes and linens, acrylic and cotton fillings, and anodized aluminum wires

Organized by BravinLee, The Golden Thread is a sweeping survey of contemporary fiber art encompassing a vast array of materials, aesthetics, and subject matter. Several artists connect textiles’ historical association with femininity and domesticity, including Ana María Hernando’s pair of cascading tulle works. Frequently working with the gossamer fabric, Hernando sees her sculptures as an act of rebellion in which “softness becomes less a discreet quality and more a function of power, both formally and symbolically.”

Similarly, Diana Weymar presents “American Sampler,” a collection of embroidered, typographic works made during a five-year period. Created to showcase a woman’s skill and literacy throughout the 18th century, samplers have a long history as sites of feminine expression. Weymar draws on this legacy for this patchwork tapestry, which is part of her ongoing Tiny Pricks Project created in 2018 in response to Donald Trump’s tumultuous first term.

Colossal readers will recognize several artists in this second exhibition, including Caitlin McCormack, Rima Day, Willie Cole, and Ulla-Stina Wikander. The Golden Thread is on view through May 16.

Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss

Detail of Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss

Caitlin McCormack, “Babylon Rec Room,” vintage wallpaper on salvaged drywall with crochet cotton string and glue embellishment

Ali Dipp, “Concession No 3 (Trumbull, Capitol)” (2024), manually stitched threads on denim jeans, 79 x 117 inches

Left: Fran Siegel, “Medicine Wheel” (2020), cyanotype, scrim, embroidery, sewing, string, and mounted on bar, 90 x 60 x 10 inches. Right: Manju Shandler, “The Elephant in the Room” (2024), mixed media soft sculpture, 6 x 6 x 9 feet

Traci Johnson. Left: “Lil Femme,” yarn on cloth, 12.5 x 22 inches. Right: “Love Me in a Place Where There’s no Space or Time” (2023), yarn on cloth, 7.5 x 7.2 feet

Sam Dienst, “Clutter Conundrum” (2024), hand-woven tapestry with yarn, beads, paint, and felt, 56 x 57 x .25 inches

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Five Years in the Making, an MiG-21 Fighter Jet Gets a Glow-Up from Tens of Millions of Glass Beads
by Aurelia Butler 15 April 2025, 20:16
Photo by Mauricio Hoyos. All images courtesy of Ralph Ziman, shared with permission
Five Years in the Making, an MiG-21 Fighter Jet Gets a Glow-Up from Tens of Millions of Glass Beads
April 15, 2025
ArtHistorySocial Issues
Kate Mothes
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“We’re going to make stuff out of beads that is going to take people’s breath away,” says Ralph Ziman in the trailer for “The MiG-21 Project,” a military jet that he and a transcontinental team coated nose to tail in millions upon millions of glass beads.
For the past 12 years, the Los Angeles-based artist has examined the impacts of the Cold War Era and the global arms trade through a trilogy titled Weapons of Mass Production, motivated by his upbringing in Apartheid-era South Africa. More than half a decade in the making, “The MiG-21 Project” completes the series.
The first installment, “The AK-47 Project,” reimagined the aesthetic of one of the world’s most ubiquitous wartime weapons, the Avtomat Kalashnikova 1947, by coating dozens of the guns in colorful glass beads. The second project revolved around the Casspir, a heavy-duty Mine-Resistant Ambush Protected Vehicle (MRAPV) introduced in the 1970s, which he likewise ornamented in vibrant geometric patterns.
“The idea was to take these weapons of war and to repurpose them,” Ziman says, flipping the narrative about icons of violence and transforming them instead into symbols of resilience, collaboration, and collectivity. Vehicles and firearms morph into a theater of hope and strength in the face of a terrible 20th-century legacy.
Apartheid, which in Afrikaans means “separateness,” is the name assigned by the minority white-ruled Nationalist Party of South Africa to a harsh system of racial segregation that began in 1948. The period lasted until 1991 and was closely linked within the context of international relations to the Cold War as tensions erupted between the U.S. and the former U.S.S.R. Spurred by the deterioration of the two countries’ WWII alliance and fears about the spread of Communism into the West, the war began in 1947 and also ended in 1991 when the U.S.S.R. was dissolved.
During this time, the Russians produced a fighter jet called the Mikoyan-Gurevich MiG-21. The plane is “the most-produced supersonic fighter aircraft of all time,” Ziman says. “The Russians built 12,500 MiG-21s, and they’re still in use today—just like the Casspir and just like the AK-47s. But it’s one thing to say, hey, I want to bead a MiG, and then the next thing, you’ve got a 48-foot MiG sitting in your studio.”
The MiG-21 cockpit
“The MiG-21 Project” combines photography and costume design with historical research and time-honored Indigenous craft. The project encompasses not only the jet but a series of cinematic photographs and elaborate Afrofuturist regalia inspired by military flight suits, African tribal textiles, and space travel.
Ziman’s team comprises numerous skilled artisans from Zimbabwe and Indigenous Ndebele women from South Africa’s Mpumalanga Province, who are renowned for their beadwork. For the Ndebele, beadwork is a means of expressing cultural identity and rites of passage, taking on powerful political connotations in the 20th century as it became associated with pre-colonial African traditions and identity.
Tapping into the lessons of our not-so-distant past, Ziman addresses current conflicts like war and the global arms race, modern colonialism, systemic racism, and white supremacy through the lens of Apartheid. Funds raised throughout the process, part of the mission of the Weapons of Mass Production trilogy as a whole, are being donated to the people of Ukraine in support of the country’s ongoing conflict with Russia.
You’ll be able to see the “The MiG-21 Project” later this year in Seattle, where it will be on view from June 21 to January 26, 2026, at the Museum of Flight. Explore more on Ziman’s website.
Photo by Mauricio Hoyos
Photo by Mauricio Hoyos
“Hero Of Cuito Cuanavale,” Inkjet on Moab Entrada paper, 43 x 56 inches
Photo by Mauricio Hoyos
Detail of the MiG-21 cockpit
Photo by Mauricio Hoyos
“The Raider and Her MiG-21,” Inkjet on Moab Entrada paper, 43 x 56 inches
Photo by Mauricio Hoyos
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Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine
by Aurelia Butler 15 April 2025, 16:00
“Megaera” (2023), bronze and velvet, 59 x 17 1/2 x 17 1/2 inches. All images courtesy of Marianna Simnett and SOCIÉTÉ, Berlin, shared with permission
Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine
April 15, 2025
Art
Kate Mothes
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For Marianna Simnett, sticking to one medium or theme defies her interpretation of what art can be. She fights the natural proclivity of galleries, collectors, and art enthusiasts to typecast her practice as one thing. “Trying to shed those expectations every time—trying to do something different—it’s exhausting but so worth it,” she says in an interview for Art Basel. “Now the signature is that people don’t know what to expect, and that’s the best outcome possible.”
Among myriad strains of her practice—which include filmmaking, sculpture, installation, painting, and performance—a collection of bronze crowns created between 2022 and 2024 command our attention. Situated on top of bespoke velvet cushions, Simnett’s Crowns are cast in an alloy that would make the elaborate headpieces burdensome or even painful to wear, yet the meticulously formed arches, band, and spikes manifest as delicate mammals and birds.
“Hydra” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches
“Simnett uses vivid and visceral means to explore the body as a site of transformation,” says a statement from SOCIÉTÉ, which represents the artist. “In psychologically charged works that challenge both herself and the viewer, Simnett imagines radical new worlds filled with untamed thoughts, strange tales, and desires.”
Named for powerful female figures from ancient lore like Discordia, the Greek goddess of strife, or Lilith, a she-demon in Jewish and Mesopotamian mythology, Simnett’s Crowns examine the power, ferocity, and sublimity of allegorical female figures. One can imagine that only supernatural beings could wear these pieces and feel comfortable.
Simnett’s sculptures were first shown in her exhibition OGRESS in 2022. “In fairy tales and folklore, the ogress is a voracious monster who deceives men and torments children in her quest to ravish them whole,” says an exhibition statement. Simnett wielded “the ogress’ insatiable hunger as a radical force,” illuminating the role of women in myth and legend, especially the symbolic tension between embracing and fearing those who are different.
Simnett’s solo exhibition Charades opens at SOCIÉTÉ on May 1, coinciding with Berlin Gallery Weekend. Explore a wide range of the artist’s multimedia work on her website and Instagram.
“Laverna” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches
Detail of “Laverna”
“Discordia” (2023), bronze and velvet, 17 1/2 x 17 1/2 x 16 inches
“Maniae” (2022), bronze and velvet, 17 1/2 x 17 1/2 x 16 inches
“Lilith” (2024), bronze and velvet, 57 1/2 x 17 1/2 x 17 1/2 inches
Detail of “Lilith”
“Astraea” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches
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In Elaborate ‘Textile Paintings,’ Anne von Freyburg Reframes Femininity in European Art History
by Aurelia Butler 14 April 2025, 15:53
“Sunny Side Up (After Fragonard, The Lover Crowned)” (2025), textile painting: acrylic ink, synthetic-fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding, and hand-dyed tassel fringes on canvas, 223 x 280 centimeters. All images courtesy of the artist and Saatchi Gallery, London, shared with permission
In Elaborate ‘Textile Paintings,’ Anne von Freyburg Reframes Femininity in European Art History
April 14, 2025
Art
Kate Mothes
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As if splashed onto the wall with a monumental brush, Anne von Freyburg’s installations visualize fabric and fiber as gestural splotches of paint. Colors bleed into one another and drips extend to the floor in what the London-based Dutch artist describes as “textile paintings.”
Drawing on 17th and 18th-century European painting traditions like the still lifes of the Dutch Golden Age and the stylized exuberance of Rococo, von Freyburg reframes relationships between craft and fine art.
“Fantasia (After Boucher, Venus and Cupid)” (2022), textile painting: acrylic ink, synthetic-fabrics, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding, and hand-dyed tassel fringes on canvas, 144 x 195 centimeters
References to Rococo artists like Jean-Honoré Fragonard and François Boucher play prominently in von Freyburg’s solo exhibition, Filthy Cute, at Saatchi Gallery. Tapping into “the clichés of heterosexual romance and societal expectations of women…she explores the pressures women face, particularly the expectations of being ‘caretakers’ and ‘pleasers,’” says a statement. Von Freyburg turns her attention to themes of compassion, freedom, and women as sovereign individuals.
Filthy Cute celebrates sensuality and the feminine while highlighting unexpected associations between materials. The artist’s abstract compositions often reference florals that are blurred, dripping, and verging on complete abstraction. Glossy fabrics in a range of colors swirl without fully mixing, resulting in sensual shapes that are beguiling and strange.
Von Freyburg describes one undergirding theme as “commodity fetishism,” tapping into the 17th-century fashion for Dutch floral still lifes and the infamous economic speculation bubble that characterized Tulip Mania between 1634 and 1637.
The show continues through May 11 in London, running concurrently Flowers: Flora in Contemporary Art and Culture, which also includes work by von Freyburg. Find more on the artist’s website and Instagram.
“Electric Feel (After Fragonard, The Pursuit)” (2025), textile painting: acrylic ink, synthetic fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding, and hand-dyed tassel fringes on canvas, 350 x 250 centimeters
Detail of “Electric Feel (After Fragonard, The Pursuit)”
Detail of “Electric Feel (After Fragonard, The Pursuit)”
“Kabloom (After Jan van Huysum, Flower still-life)” (2024), acrylic ink, synthetic-fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding, and hand-dyed tassel fringes on canvas, 230 x 130 centimeters
“Tuttifrutti (After Jan van Huysum, Flower still-life)” (2024), acrylic ink, synthetic-fabrics, PVC fabric, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding, and hand-dyed tassel fringes on canvas, 235 x 135 centimeters
Detail of “Sunny Side Up (After Fragonard, The Lover Crowned)”
Installation view of ‘Filthy Cute’ at Saatchi Gallery, London
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An Ikebana Artist and His Student Sow an Unconventional Approach to Flower Arranging
by Aurelia Butler 12 April 2025, 17:45
Kosen Ohtsubo, “Linga München” (2025), 300 Basket willow branches, candle, metal frame, plastic and metal ties, scrap metal, soil, various flowers and leaves. All photos by Maximilian Geuter, courtesy the artists and Kunstverein München, shared with permission
An Ikebana Artist and His Student Sow an Unconventional Approach to Flower Arranging
April 12, 2025
ArtNature
Grace Ebert
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“I want to explode the idea of beautiful ikebana,” says Kosen Ohtsubo, one of the foremost conceptual artists working in the Japanese tradition.
Since the 1970s, Ohtsubo has been unsettling the ancient art of flower arranging. Incorporating atypical botanicals like cabbage leaves or weaving in unconventional materials like bathtubs and scrap metal, the artist approaches making with the mindset of a jazz musician, a genre he frequently listens to while working. Improvisation and experimentation are at the core, along with an unquenchable desire for the unexpected.
Detail of Kosen Ohtsubo, “Linga München” (2025), 300 Basket willow branches, candle, metal frame, plastic and metal ties, scrap metal, soil, various flowers and leaves
An exhibition at Kunstverein München in Munich pairs Ohtsubo with Christian Kōun Alborz Oldham who, after discovering the ikebana icon’s work in a book in 2013, became his student. Titled Flower Planet—which references a sign that hangs outside Ohtsubo’s Tokorozawa home and studio—the show presents various sculptures and installations that invite viewers to consider fragility, decay, and the elusive qualities of beauty and control.
Given the ephemeral nature of the materials, photography plays an important role in most ikebana practices as it preserves an arrangement long after it has wilted. This exhibition, therefore, pairs images of earlier works with new commissions, including Ohtsubo’s standout orb titled “Linga München.” Nested in a bed of soil and leaves, the large-scale sculpture wraps willow with metal structures and positions a small candle within its center.
Similarly immersive is “Willow Rain,” which suspends thin branches from the ceiling. Subverting the way we typically encounter fields of growth, the work is one of many in the exhibition that seeds questions about our relationship to the natural world and the limits of human control.
Flower Planet is on view through April 21. Explore Ohstubo’s vast archive on Instagram.
Detail of Kosen Ohtsubo, “Linga München” (2025), 300 Basket willow branches, candle, metal frame, plastic and metal ties, scrap metal, soil, various flowers and leaves
Kosen Ohtsubo, “Willow Rain” (2025), 800 basket willow branches, metal frame
Christian Kōun Alborz Oldham, “Corruption”
Christian Kōun Alborz Oldham, “Penny Waking up from a Dream” (2025), carrot, Chinese long bean,reflecting sphere, Japanese woven bamboo basket
Detail of Christian Kōun Alborz Oldham, “Penny Waking up from a Dream” (2025), carrot, Chinese long bean, reflecting sphere, Japanese woven bamboo basket
Detail of Kosen Ohtsubo, “Linga München” (2025), 300 Basket willow branches, candle, metal frame, plastic and metal ties, scrap metal, soil, various flowers and leaves
Kosen Ohtsubo, “怪芋III / Strange Callas III” (2025), Calla lily, willow, custom-designed iron box
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Melding Craft and Sustainability, Richard Haining Sculpts Sleek Vessels from Reclaimed Wood
by Aurelia Butler 11 April 2025, 14:01
All images courtesy of Richard Haining, shared with permission
Melding Craft and Sustainability, Richard Haining Sculpts Sleek Vessels from Reclaimed Wood
April 11, 2025
ArtCraftDesign
Grace Ebert
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Renewal is at the center of Richard Haining’s practice. The Brooklyn-based artist and designer (previously) sculpts supple vessels and functional goods from reclaimed wood sourced from local workshops or buildings destined for demolition. Intrigued by signs of wear and former uses, Haining has a deep reverence for the material and its history.
In his ongoing STACKED series, small offcuts nest together in intuitively laid grids. An angle grinder and hand tools help to smooth any jagged edges and create the soft, sleek forms Haining is known for.
The artist shares that his inspiration comes from a wide array of sources, “from Classical Antiquity to East Asian design (to) 17th-century European Craftsmanship.” His holy trinity, though, is beauty, craftsmanship, and mindfulness for the environment. He adds:
By juxtaposing repurposed ‘low-value’ materials with ‘high-art’ forms, I invite viewers to reconsider what is truly valuable. Ultimately, I hope to spark a conversation about sustainability, showing that art, craftsmanship, and environmental responsibility can coexist—and that beauty can emerge from the most unexpected places.
Haining is participating in two group exhibitions in New York, one at Lyle Gallery through April 20 and Paraphernalia Exhibition: Desire opening on May 7. Follow the latest on Instagram.
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How Do You Honor an Artist? A Daughter Grapples with Continuing Her Mother’s Legacy
by Aurelia Butler 10 April 2025, 20:25
All images courtesy of “The Promise of Spring”
How Do You Honor an Artist? A Daughter Grapples with Continuing Her Mother’s Legacy
April 10, 2025
ArtFilm
Grace Ebert
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Anyone who’s stood to inherit a family business knows the difficulty of charting one’s own course. “Legacy is complicated,” says Violet Oliphant-O’Neill, the daughter of the wildly prolific artist Sarah Oliphant. “(When you have) parents who are successful, being their child is complicated.”
Directed by Anna Louise Andersen, “The Promise of Spring” is an intimate portrait of a mother and daughter and the struggle of inheriting a parent’s passion. The film visits Oliphant Studios, which has painted backdrops gracing the covers of Vogue, Harper’s Bazaar, and The New York Times and stood behind icons like Michelle Obama and Simone Biles, to name a few. It’s been in operation since 1978.
Oliphant’s output is revered globally, but for her daughter, stepping into an essential role in the studio isn’t simple. The film follows the pair as they work together and unravels each of their journeys to art-making—Oliphant through a natural proclivity that began in childhood and Oliphant-O’Neill by way of her mother.
As Andersen writes, the film grapples with “the tension between honoring family traditions and creating one’s own destiny.”
Watch “The Promise of Spring of Above,” and find more from the filmmaker on Vimeo.
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Geometric Scaffolding Structures Geoffrey Todd Smith’s Gouache-and-Ink Portraits
by Aurelia Butler 10 April 2025, 17:13
“Harmonizing With an Architect” (2025), gouache and ink on paper, 42 1/2 x 60 inches. All images courtesy of the artist and Western Exhibitions, shared with permission
Geometric Scaffolding Structures Geoffrey Todd Smith’s Gouache-and-Ink Portraits
April 10, 2025
Art
Grace Ebert
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From the center of a gridded structure made of striped orbs and oblong shapes are two elements redolent of eyes. Seeming to peer out from the largely abstract composition, these facial features are augmented by forms that mimic ears, noses, and mouths all nested within the vivid patterns.
The work of Chicago-based artist Geoffrey Todd Smith, these ambiguous portraits rendered in gouache and ink reference masks or mirrored reflections, revealing a distant figure without a defined identity. “To be honest, I keep thinking of them as evolving forms,” he tells Colossal. “I try to find new things in them when I look at them. I’m not entirely sure I want to figure them out because I probably won’t want to make them if I understand them.”
“Picture of Dorian Greige” (2024), gouache and ink on paper, 24 x 22 inches
Continually drawn to abstraction and geometry, Smith is known for his mesmerizing works that infuse elaborate, often zigzagged motifs with simple structures. Vibrant spheres seem to spill across the paper, creating trippy, symmetric compositions bursting with energy.
The artist departs from pure abstraction in this new body of work as he incorporates humanoid components amid his interlocked shapes. Geometry still provides a scaffolding, though. He adds:
If there is a break from logic, that sense of order can quickly collapse, creating tension, sort of like removing the bottom pieces in a game of Jenga. Either way, geometry helps me construct a sort of game board to which I respond with more decorative or ornamental decisions. Even the decorative hand-drawn elements play an optical and structural role. They either assert or interfere with order, depending on how I manipulate them.
These ornamental additions are the product of a slow, introspective process. Smith prefers not to mix colors and instead layers materials to achieve a particular palette.
“Medieval Knievel” (2025), gouache and ink on paper, 33 x 29 inches
“The mark from a gel pen is so immediate and relatable. I like that they were marketed to teenagers because nobody feels quite as deeply as they do at that age,” he says. “I think of the intensity and rigor of my marks as mysterious emoting or like writing a gut-wrenching, abstract love letter.”
If you’re in Chicago, you can see Smith’s solo show Assembly at Western Exhibitions through April 12. Otherwise, find more of his work on his website and Instagram.
“Frock Of Regals” (2023), gouache and ink on paper, 22 x 30 inches
“King Cobralabra” (2024), gouache, acrylic and ink on paper, 24 x 22 inches
“Beastmaster General” (2024), gouache and ink on paper, 24 x 22 inches
“Mixed-Message Magician” (2025), acrylic, gouache, and ink on paper, 37 1/2 x 29 inches
“Chicago Armadillo” (2023), acrylic, gouache, and ink on paper, 30 x 22 1/4 inches
“Atom Bomb Boom Box” (2023), acrylic, gouache, and ink on paper, 30 x 22 1/4 inches
“Molotov Pineapple” (2023), acrylic, gouache, and ink on paper, 22 1/4 x 30 inches
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In Hyperrealistic Oil Paintings, Chloe West Summons Magical Realism in the American West
by Aurelia Butler 10 April 2025, 15:14
“Gored Cowboy” (2024-25), oil on linen, 84 x 68 inches. All images courtesy of the artist and HARPER’S, New York, shared with permission
In Hyperrealistic Oil Paintings, Chloe West Summons Magical Realism in the American West
April 10, 2025
Art
Kate Mothes
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Set against mountains, desert plains, and the cobalt blue skies one finds at high elevations, Chloe West’s striking oil paintings merge Dutch Golden Age iconographies with both mythic and everyday motifs of the American West.
West was born and raised in Wyoming, the peaks and pastures of which continue to influence her hyperrealistic figurative works. In her current solo exhibition, Games of Chance at HARPER’S, the artist draws on European portraiture and still life traditions in a series of self-portraits and tableaux challenging stereotypes of the West as a frontier molded by machismo.
“Cowboy Philosopher” (2024-25), oil on linen, 84 x 68 inches
“Cowboy Philosopher,” for example, portrays the artist in direct confrontation with the viewer, seated beside a mountain lion skull at a table covered with a celestial tapestry. The painting evokes Salomon Koninck’s “A Philosopher” (1635) and works by other Flemish artists of the 17th and 18th centuries, who often depicted alchemists and scholars in their studies accompanied by skulls, devices, and documents.
West subverts our understanding of cowboy culture as predominantly masculine, juxtaposing her own body with bones, small weapons, and fabric backdrops that establish a tension between life and death, folklore and daily life, and the sacred and the profane. Animal bones, thorns, and knives nod to memento mori, a reminder of the impermanence of life, while also invoking the supernatural and a sense of cyclical time. Casting deep, dark shadows, the glaring sun reveals all.
Portraying herself in western wear, West bonds to the continuum of the landscape and its customs and narratives while considering the way European attitudes and actions like Manifest Destiny shaped our understanding of the region. The artist taps into legend, history, and magical realism to blur distinctions between the past and contemporary experience. “Ultimately, throughout Games of Chance, West confronts the idealization of frontier heroism, dismantling its pre-established boundaries and expanding upon the legacy it left behind,” the gallery says.
Games of Chance opens today and continues through May 10 in New York City. Find more on the artist’s website and Instagram.
“Hand with Opossum Skull” (2024-25), oil on linen, 24 x 20 inches
Detail of “Gored Cowboy”
“Trapper’s Still Life” (2024-5), oil on linen, 48 x 38 inches
“Pearled Back” (2024-25), oil on linen, 58 x 46 inches
“Portrait with Capped Skull” (2024-25), oil on linen, 58 x 48 inches
“Pocketknife” (2024), oil on linen, 16 x 12 inches
“St. Veronica at the Geyser Basin” (2024-25, oil on linen, 48 x 38 inches
“Hand with Thorn” (2024-25), oil on linen, 24h x 20w in
Detail of “Cowboy Philosopher”
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With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

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Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine

In Elaborate ‘Textile Paintings,’ Anne von Freyburg Reframes Femininity in European Art History

An Ikebana Artist and His Student Sow an Unconventional Approach to Flower Arranging

Melding Craft and Sustainability, Richard Haining Sculpts Sleek Vessels from Reclaimed Wood

How Do You Honor an Artist? A Daughter Grapples with Continuing Her Mother’s Legacy

Geometric Scaffolding Structures Geoffrey Todd Smith’s Gouache-and-Ink Portraits

In Hyperrealistic Oil Paintings, Chloe West Summons Magical Realism in the American West

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