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‘No One Knows All It Takes’ Invites Community Healing at the Haggerty Museum of Art
by Aurelia Butler 8 September 2025, 19:23
All images courtesy of Haggerty Museum of Art, Marquette University, shared with permission
‘No One Knows All It Takes’ Invites Community Healing at the Haggerty Museum of Art
September 8, 2025
ArtColossalPartnerSocial Issues
Grace Ebert
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A core component of the Colossal-curated exhibition, No One Knows All It Takes, is community participation. Each of the artists—Bryana Bibbs, Raoul Deal, Maria Gaspar, and Swoon (previously)—is deeply engaged with the people they portray and collaborate with, a commitment that inspires nuanced, insightful projects and a truly communal process.
As part of the exhibition at the Haggerty Museum of Art, we’ve considered how to reflect this mode of working through programming and a participatory project. The final piece in the show is Bibbs’ “Weaving Stories,” which consists of a large loom mounted on the gallery wall, along with threads, a paper shredder, and other materials nearby. Once viewers have considered each of the artists’ works, they’re invited to contribute to a collective tapestry on the loom or create a smaller, individual piece to take home.
Installation view of “Weaving Stories”
Attuned to the sensitive subject matter of the exhibition, Bibbs asks participants to explore their own feelings and memories in response to the artworks. Viewers can even write down their thoughts and interlace their shredded notes into the final work.
In addition to “Weaving Stories,” No One Knows All It Takes also offers an opportunity to engage with Gaspar’s “Disappearance Jail (Wisconsin)” in a public event on October 9. Following a discussion about the intersection of art and incarceration with Dr. Robert S. Smith, the artist will lead attendees in a “punch party,” a workshop in which participants use a hole punch to obscure images of jails, prisons, and detention facilities. The completed works will then be re-hung in the gallery.
And lastly, Colossal will also be hosting a conversation with Deal and Dr. Sergio M. González about immigration, wellbeing, and making art in this increasingly precarious moment. We encourage attendees to spend time with Deal’s works in the exhibition prior to joining us for that discussion, which will be held on September 24.
No One Knows All It Takes is on view through December 20 in Milwaukee, with an opening reception on September 11. Find all of the programming on the museum’s website.
Installation view of two works by Raoul Deal
Installation view of Bibbs’ works
Detail view of Gaspar’s “Disappearance Jail (Wisconsin)”
Installation view of Gaspar’s “Disappearance Jail (Wisconsin)”
Installation view of works by Raoul Deal
Installation view of works by Raoul Deal
Installation view of Swoon’s “Medea”
Installation view of Swoon’s “Medea” and Bibbs’ works
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Banksy’s Already Covered Painting in London Comments on the U.K.’s Palestine Action Crackdown
by Aurelia Butler 8 September 2025, 16:46
Banksy’s painting at Royal Courts of Justice, London, © Banksy 2025
Banksy’s Already Covered Painting in London Comments on the U.K.’s Palestine Action Crackdown
September 8, 2025
ArtSocial Issues
Kate Mothes
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On a wall outside the Royal Courts of Justice in Westminster, London, a new piece by Banksy appeared this morning before being covered up within hours. The short-lived artwork, which the artist shared on Instagram and the front page of his website, depicts a judge in traditional robes and a large wig beating a protester with a gavel as blood spatters across the demonstrator’s placard.
The piece by the anonymous artist is likely a response to the arrests of nearly 900 protestors during a rally against the ban on Palestine Action, a group that Britain has declared a terrorist organization. Membership in the group is considered a crime, which can be punished by up to 14 years in prison. Even though organizers insist the demonstration of around 1,500 was peaceful, The Met nevertheless arrested more than half of the attendees.
Banksy is known for his statements about current affairs and socio-political issues around the world. He’s famous for stealthily targeting charged sites, like destroyed buildings in Ukraine or a small town in Wales that the World Health Organization for a short time deemed the most-polluted community in the U.K. His striking and subversive imagery is sometimes humorous, ironic, or tongue-in-cheek, always taking a direct and purely visual approach in his critique of contemporary issues.
“What makes this work remarkable is not just its imagery, but its placement,” says Jasper Tordoff, a Banksy expert at MyArtBroker, on Artnet. “By choosing the Royal Courts of Justice, Banksy transforms a historic symbol of authority into a platform for debate. In classic Banksy form, he uses the building itself to sharpen the message, turning its weight and history into part of the artwork.”
Follow the artist’s updates on Instagram.
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Maud Madsen’s Oil Paintings Explore Childhood Memories, Daydreams, and Nesting
by Aurelia Butler 8 September 2025, 15:13
“Snow Fort” (2025), oil on linen, 78 x 90 inches. Photos by JSP Art Photography. All images courtesy of the artist and Half Gallery, shared with permission
Maud Madsen’s Oil Paintings Explore Childhood Memories, Daydreams, and Nesting
September 8, 2025
Art
Kate Mothes
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Brooklyn-based artist Maud Madsen delves into what it means to find comfort, inspiration, and security in our domestic spaces. Her current solo exhibition, Dweller at Half Gallery, taps into the vast realm of memory as she depicts herself building structures in the snow or pillow forts from couch cushions—activities we often associate with kids’ unbridled creativity and ingenuity. They are also shelters.
Evocative of children’s book author Chris Van Allsburg’s dramatic and mysterious illustrations in acclaimed titles like Jumanji, Polar Express, and The Mysteries of Harris Burdick, Madsen often centers the living room or bedroom—places that define relaxation and dreaming—as places where voyages of the imagination take place.
“Twin Beds (Blanket Fort)” (2025), oil on linen, 78 x 110 inches
For Madsen, a similar approach shapes her renditions of childhood activities that highlight nostalgic and engrossing activities like building blanket forts or playing with a 1980s-era Fisher Price farm set. Deep shadows, enigmatic settings, and uncanny situations converge in the artist’s alluring and mysterious oil paintings.
“Because all of the artist’s compositions deal with childhood memories, Maud is also quite literally dwelling on the past,” the gallery says. “The double meaning of her show title is a kind of trick mirror, or maybe force-multiplier, concentrating our attention on the spaces (many self-created) that her figures occupy.”
Lit perhaps by a distant porch light or the moon shining in through a window, the artist’s recent paintings are set at night, suggesting these moments may be dreams or even the result of insomnia. Nighttime can be seen as symbolic of both an ending and a transition into something new, like that of adolescence to adulthood. Madsen’s compositions also examine the notion of “nesting,” in which we carefully organize and curate our domestic spaces to define our tastes and needs in a way that feels comfortable, autonomous, and safe.
Dweller continues through October 2 in New York City. See more on the artist’s website and Instagram.
“Den” (2025), oil on linen, 30 x 24 inches
“Canopy” (2025), oil on linen, 30 x 24 inches
“Lights Out” (2025), oil on linen, 60 x 48 inches
“Night Shift” (2025), oil on linen, 60 x 48 inches
“Heavy Snow” (2025), oil on linen, 60 x 48 inches
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Song Dong’s Monumental Installations Mirror Memories, Globalization, and Impermanence
by Aurelia Butler 5 September 2025, 20:17
“A Quarter” (2021-2024), interactive installation of steel, mirrors, collected daily objects and furniture from different
households, lighting fixtures, small stools, and carpets. All images © Song Dong, shared with permission
Song Dong’s Monumental Installations Mirror Memories, Globalization, and Impermanence
September 5, 2025
Art
Kate Mothes
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Mirrors, lights, and household furnishings converge on a grand scale in the luminous installations of Song Dong. The Chinese artist’s interdisciplinary practice often combines performance, sculpture, painting, video, and calligraphy to summon memories and create monumental immersive experiences.
Themes of transition and ephemerality often appear in Song’s pieces, like a series of installations and performances in which tabletop constructions reminiscent of metropolitan skylines were constructed from edible treats, dismantled brick by brick—or biscuit by biscuit—as visitors passed by. Playful and saccharine on the surface, these works examine the artist’s own childhood experiences of food scarcity along with themes of ephemerality and globalization.
“Waste Not” (2009), installation performance, Museum of Modern Art, New York
“Waste Not” —which was shown initially at Beijing Tokyo Art Projects before being exhibited in major institutions in the U.S., U.K., Australia, and Germany—explores related themes of consumption and impermanence. Incorporating more than 10,000 items his mother had accumulated over the course of five decades, the installation-performance became “an act of physical and psychological unpacking,” says Pace Gallery, which represents the artist. Viewers were presented with “a veritable landscape of commodities, ranging from bottle caps, shoes, blankets, toothpaste tubes, metal pots, and toys.”
Through the use of old wooden windows, bed frames, doors, mirrors, lamps, color-coated glass, porcelain, and other found objects and “daily necessities,” Song composes elaborate, structural installations. These evoke dreamy notions of home, belonging, security, and migration while exploring the relationships between memory and fact, humor and trauma. He culls his materials from the streets of Beijing, sourcing discarded furniture, architectural elements, and quotidian objects.
“These collaged remnants of people’s homes carry with them the history of a city and the lives of its people,” Pace says. “As viewers are invited to peek inside, they are transformed into voyeurs: imagining their homes, their stories, and perhaps identifying shared experiences, and primed to think of the future.”
Now on view as part of the vibrant 36th São Paolo Biennial, Song’s work appears among ambitious installations by dozens of artists from around the world. His commissioned piece “Borrow Light” takes the form of a mirrored world brimming with lamps that reflect from every surface, not unlike one of Yayoi Kusama’s Infinity Mirror Rooms.
“Borrow Light” (2025). Installation view of the 36th Bienal de São Paulo, ‘Not All Travellers Walk Roads – Of Humanity as Practice’ © Levi Fanan / Fundação Bienal de São Paulo
The artist considers the concept of “borrowing” in terms of its inherent temporality. He positions it as something of an ethos for understanding our short time on Earth, whether life’s cycles or even the presence of humans at all over the course of millions of evolutionary years.
Song draws inspiration “from both a carnival’s house of mirrors and the traditional Chinese feng shui method of using mirrors and windows to expand interior space by ushering in the external world,” says an exhibition statement. “Borrow Light” becomes a participatory experience, where visitors’ movements are reflected and illuminated throughout the space. Chairs and lamps, all lent from private homes, provide places for rest and contemplation.
“Playing with fluid elements such as light, reflection, and illusion, Song’s installation immerses the audience into an infinite universe, where our images and minds become entwined in a silvery, glowing light,” the biennial says.
Explore more exhibitions and learn about the artist on Pace Gallery’s website.
Detail of “Same Bed Different Dreams No. 3.” Photo by Damian Griffiths, courtesy of Pace Gallery
Detail of “Same Bed Different Dreams No. 3.” Photo by Damian Griffiths, courtesy of Pace Gallery
“Borrow Light” (2025). Installation view of the 36th Bienal de São Paulo, ‘Not All Travellers Walk Roads – Of Humanity as Practice’ © Levi Fanan / Fundação Bienal de São Paulo
“Borrow Light” (2025). Installation view of the 36th Bienal de São Paulo, ‘Not All Travellers Walk Roads – Of Humanity as Practice’ © Levi Fanan / Fundação Bienal de São Paulo
Detail of “Same Bed Different Dreams No. 3.” Photo by Damian Griffiths, courtesy of Pace Gallery
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Mystery Abounds in Angela Burson’s Engimatic Paintings
by Aurelia Butler 5 September 2025, 18:28
“Disconnected” (2025), acrylic on panel, 9 x 12 inches. All images courtesy of Hashimoto Contemporary, shared with permission
Mystery Abounds in Angela Burson’s Engimatic Paintings
September 5, 2025
Art
Grace Ebert
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What do the objects we surround ourselves with say about who we are? For Angela Burson, the shirt we pluck from the closet in the morning and the drink we sip with dinner are especially engaging insights into personal and familial identities.
The artist, who is based in Savannah, often begins with old photographs and re-interprets vintage fashions, tile patterns, and household items in acrylic. She tends to skew proportions and perspectives, achieving a surreal style intensified by her signature crops and headless figures. A vivid, old-fashioned palette of yellow, baby blue, and pale, dusty rose characterizes the mysterious scenes, which peer into intimate moments rife with intrigue.
“Western Martini” (2025), acrylic on panel, 12 x 16 inches
In “Taking Notes,” for example, we see two people sitting at a table, the suited figure scribbling on a pad of paper while another grabs for an olive martini. We’re left unsure of whether these notes reflect an investigation into an illicit event or chronicle a more legitimate (and seemingly less likely) cause. There’s also the nefarious cord-cutter in “Disconnected,” a piece in which a black rotary phone is sure to become an object of inquiry.
Of course, not all of Burson’s paintings appear to catch a bad actor. Her characteristic crops also zoom in on a delicate pair of sheer, polka-dotted socks or slender hands grasping a cocktail glass. The artist’s most recent body of work, Analog Conditions, depicts “artificially created situations (that) mimic real-world circumstances.”
Recurring motifs like suitcases and beloved pets allude to themes of liberation and companionship, although Burson continues to leave us puzzled: Why, for example, is there an open pill box next to an unattended pup? And what spurred the adoption of an adorable calico kitten? While ambiguous and inconclusive, Burson’s paintings prompt us, as a statement says, “to question the existential meaning of it all.”
Analog Conditions is on view from September 6 to 27 at Hashimoto Contemporary in New York City. Explore more from Burson on her website and Instagram.
“Taking Notes” (2025), acrylic on linen, 31 1/2 x 40 7/8 x 3/4 inches
“Olive and Pillbox” (2025), acrylic on linen, 16 x 20 inches
“Yellow Shoes” (2025), acrylic on panel, 12 3/4 x 9 3/4 inches
“Vintage Taupe” (2025), acrylic on panel, 9 x 12 inches
“Yellow Bow” (2025), acrylic on panel, 9 x 12 inches
“Ozark Magic” (2025), acrylic on panel, 14 x 14 inches
“Patches” (2025), acrylic on linen, 60 x 40 x 1 1/2 inches
“Pencil” (2025), acrylic on linen, 40 x 40 x 3/4 inches
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Yasuaki Onishi Suspends Thousands of Copper Foil Molds in an Undulating Framework
by Aurelia Butler 4 September 2025, 17:30
All images courtesy of the artist and the Utah Museum of Fine Arts, shared with permission
Yasuaki Onishi Suspends Thousands of Copper Foil Molds in an Undulating Framework
September 4, 2025
Art
Kate Mothes
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Undulating in a Utah Museum of Fine Arts gallery, thousands of glimmering casts seem to float throughout the space. For his large-scale installation “Stone on Boundary,” Japanese artist Yasuaki Onishi has suspended 5,000 copper foils that he molded over river rocks in both Osaka and Salt Lake City.
Begun in the artist’s studio in Osaka—a city where Japanese copper has been refined for export for around two centuries—the installation then traveled to the museum, which sits less than an hour’s drive from the world’s largest operational open-pit copper mine. Using an element found in both places and mirroring waterways or rippling topography, Onishi connects two seemingly unrelated locations through a common material and industry.
The artist has long been interested in how objects interact with their surroundings, especially the relationship between “positive” and “negative” space. This spurred a deep dive into molding techniques and unique uses of materials, which allow him to explore themes revolving around margins, voids, boundaries, and volume. For the Salt Lake City installation, he considers the relationship between earth, the landscape, and extraction.
“The copper foil created by Onishi presents such absence and presence through molding, suggesting that to recognize things, it is essential not only to know the surface but also to richly engage the imagination—and that even with imagination, one cannot see everything,” the museum says.
For “Stone on Boundary,” the thin metal molds create disc- and cup-like shapes that suspend along a wire framework, which reflects the Wasatch and Oquirrh Mountains around Salt Lake City. The installation also marks the artist’s largest to date, spanning 12 x 22 x 14 meters.
Find more on Onishi’s website and Instagram.
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PITR Highlights Storefronts, Signage, and Graffiti in Ultra-Detailed Portraits of Urban Streets
by Aurelia Butler 4 September 2025, 13:48
All images © Pizza in the Rain, courtesy of Mortal Machine Gallery, New Orleans, shared with permission
PITR Highlights Storefronts, Signage, and Graffiti in Ultra-Detailed Portraits of Urban Streets
September 4, 2025
ArtIllustration
Kate Mothes
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Whether portraying a graffiti tag below a retail window or the bond patterns of bricks, the artist known as Pizza in the Rain, or PITR, illuminates city streets and commercial ephemera in striking detail.
With meticulous attention to geometry and quotidian features, the Chicago-based artist highlights business signage and urban facades in an almost narrative way, with the occasional figure passing through on foot or on a bike. Simultaneously immersive and nostalgic, we’re invited in and at the same time reminded of disappearing vestiges of past eras.
From storefront to storefront, we can imagine PITR’s compositions are snapshots of one continuous city, even though many of the distinctive locations are in different places around the U.S. Many recent scenes are evocative of New Orleans, with boarded-up shutters, like those often seen in the French Quarter, or historical markers. Circo’s Pastry Shop is a real place in Brooklyn, and The California Clipper is a well-known lounge in Chicago.
PITR renders everyday details with equal importance, from sprayed markings on the sidewalk, like the kind the gas company might make, to weathered awnings and neon logos. Nothing blurs into the background in his portraits of individual buildings and maximalist city blocks. On one hand, the locations appear realistic, yet on the other, there is a sense of fantasy and surrealism in their precisely drawn, slightly dystopian imperfections.
If you’re in New Orleans, stop by Mortal Machine Gallery to check out these pieces alongside new works by Max Seckel in Parallel Structures, which opens on September 12. Explore even more on PITR’s Instagram.
Collaboration with Max Seckel
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‘Between the Lines’ Showcases the Subversive Traditions of Art-Making While Incarcerated
by Aurelia Butler 3 September 2025, 19:07
Djan Shun Lin, “Eagle” (ca. 1994, York County Prison, York County, Pennsylvania), paper and paint. All photos by Addison Doty, courtesy of the Museum of International Folk Art, shared with permission
‘Between the Lines’ Showcases the Subversive Traditions of Art-Making While Incarcerated
September 3, 2025
ArtSocial Issues
Grace Ebert
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Artists aren’t strangers to creative constraints. Perhaps they work full-time and have to sneak in just an hour of painting before bed. Or a grant requires that they follow a particular set of guidelines that push their practice in a new direction. Whatever the situation, artists are often uniquely positioned to find innovative, experimental approaches to making.
For those included in Between the Lines: Prison Art and Advocacy, which was on view this past month at the Museum of International Folk Art, constraints are plentiful. Featuring an eclectic array of works by incarcerated artists, the group exhibition offers a survey of creativity in confinement.
Artist name redacted, “Envelope (Austin, Texas)” (June 2002, Snyder, Texas), paper envelope, color pencil, pen
A primary thread in the exhibition—which tends to connect most artworks made during a period of incarceration—is an innovative use of materials. John Paul Granillo, for example, renders blue pen portraits on a pair of canvas prison-issue shoes. Other drawings appear on envelopes sent to the Coalition For Prisoners’ Rights, a nonprofit project that mailed newsletters inside for several decades.
There are also several paños, a genre utilizing commissary handkerchiefs, pillowcases, or bedsheets that originated with incarcerated Chicanos in the 20th century. The largely self-taught art form is perhaps one of the best-known traditions to emerge from inside carceral facilities and is a subversive mode of expression: often sent to family and loved ones on the outside, these fabric pieces offer both a way to communicate what might otherwise be censored in letters and a financial opportunity for particularly talented artists who might sell the paños for birthday, anniversary, and other gifts.
While much of the work comes from facilities in the Southwest and Western states, Between the Lines extends its reach to connect carceral systems across the globe. A vibrantly beaded bird with bold text reading Masallah, or may Allah, comes from 1960s Anatolia. Purchased in 2005 in Istanbul, the piece is a “protective amulet and hung from car rearview mirrors or other places,” the museum says.
As Brian Karl points out in Hyperallergic, the exhibition is less concerned with prison reform and larger questions of abolition than it is with showcasing the necessity of creating in such a dehumanizing environment. The eagle, a motif associated with freedom in the U.S., appears in several works and speaks to the lack of agency and autonomy in such a punishing system. When people are very literally confined with meager, if any, resources for self-expression, creating becomes both a mode of survival and a revolutionary act. As the exhibition’s title suggests, prison art is always bound up with advocacy and requires makers to find defiance in interstitial spaces.
John Paul Granillo, “Shoes with ink drawing” (2011–2012, Federal Correctional Institution, Ray Brook, New York), blue pen ink, white fabric, rubber
Michael Guzman, “PA. LA. Casa (To the House)” (1982–1984, New Mexico State Penitentiary, Santa Fe), paper, colored pencil, pen. Work courtesy of Stuart Ashman in honor of the talented inmates at the New Mexico State Penitentiary
Artist name redacted, “Envelope (buffalo skull and stepped chevron design)” (October 2005,Salinas Valley State Prison, Soledad, California), paper envelope, color pencil, pen
Artist unrecorded, “Picture Frame” (1980s, New Mexico State Penitentiary, Santa Fe), plastic-coated gum wrappers, photograph
Artist unrecorded, “Amulet” (1960–1970, Anatolia, Republic of Türkiye), glass beads, cotton string, sequins, stuffing
J.D., “Te Amo (I Love You)” (2018–2020, Cibola County Correctional Center, Milan, New Mexico), torn cotton bedsheets and ink
Carlos Cervantes, “Hispanic History in the Southwest” (1996, New Mexico State Penitentiary, Santa Fe), cotton handkerchief, lead pencil, colored pencils, ink pens
Ray Materson, “Where Are You Now” (1990, Somers, Connecticut), sock thread, silk, fiber
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Art

More stories

Maud Madsen’s Oil Paintings Explore Childhood Memories, Daydreams, and Nesting

Song Dong’s Monumental Installations Mirror Memories, Globalization, and Impermanence

Mystery Abounds in Angela Burson’s Engimatic Paintings

Yasuaki Onishi Suspends Thousands of Copper Foil Molds in an Undulating Framework

PITR Highlights Storefronts, Signage, and Graffiti in Ultra-Detailed Portraits of Urban Streets

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