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    ‘The War of Art’ Charts the Catalyzing History of Artists’ Protests in the U.S.

    Agnes Denes, “Wheatfield—a Confrontation” (1982). Image courtesy of the Public Art Fund, New York. Photo by John McGrail. All images courtesy of Lauren O’Neill Butler, shared with permission

    ‘The War of Art’ Charts the Catalyzing History of Artists’ Protests in the U.S.

    June 17, 2025

    ArtBooksSocial Issues

    Grace Ebert

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    In May of 1982, Budapest-born artist Agnes Denes congregated with a small group of volunteers at Lower Manhattan’s Battery Park Landfill. They planted wheat berries onto the plot of land, which, once grown, created a lush field of wispy stalks juxtaposed against the city’s skyline. Visually striking, the ecological artwork was in part a protest against exploitation, greed, and the destruction of people and the environment. The paltry $158 spent on seeds stood in stark contrast to the $4.5 billion evaluation of the land itself.

    Denes’ “Wheatfield—a Confrontation” is one of ten case studies presented in Lauren O’Neill-Butler’s timely new book. Released on the heels of this weekend’s mass mobilization against the Trump administration, The War of Art: A History of Artists’ Protest in America comes at a moment when many of us are considering what tools we have to create the world we want to live in. Artists have long grappled with this question, O’Neill Butler reminds us, as many have even fused their aesthetic inclinations with their desires for justice.

    “Lie-in” protest of the Vietnam War in Central Park (November 14, 1969). Photo by J. Spencer Jones

    The War of Art is in the lineage of books like Nicolas Lampert’s A People’s Art History of the United States, which chronicles grassroots approaches to art and social change across 250 years. For her text, O’Neill-Butler shortens the timeline and begins with the 1960s. Early projects include Benny Andrews’ co-founding of the Black Emergency Cultural Coalition, or BECC, and the creation of a prison arts program at the Manhattan House of Detention following the Attica riot.

    O’Neill-Butler is wary of dictating exactly what activist art is, instead leaving the genre open-ended. The defining characteristics she does offer are that these types of projects are “always a means to an end” and tend to collapse the already frail boundary between politics and art. Many of her case studies utilize art to gain attention from the media and, therefore, the public, a combination that often proves more efficacious than either protest or artistic presentation alone.

    For example, David Wojnarowicz’s work to end the AIDS pandemic with ACT UP and Nan Goldin’s Prescription Addiction Intervention Now (P.A.I.N.) were both movements that utilized spectacular tactics like the “die-in,” a public performance that originated during the Vietnam War. These actions involve protestors lying on the ground or floor, and in the case of Goldin’s work, took place in institutions like the Metropolitan Museum of Art in objection to the Sackler family’s wing.

    Wojnarowicz is also famous for his now-iconic jean jacket saying, “If I die of AIDS—forget burial—just drop my body on the steps of the F.D.A.,” an image of which has widely circulated and come to symbolize the movement. These projects aren’t simply art created with activist concerns but rather inextricable from the positions they argue for.

    Still from Chris McKim’s documentary ‘Wojnarowicz’ (2020)

    Of course, it’s important to acknowledge that the problems these artists rail against—a lack of affordable housing, public health crises, discrimination in the art world, to name a few—are ongoing, and like most socially engaged projects, the examples the book includes are not without criticism.

    In 1993, seven African-American artists established Project Row Houses in Houston’s historic Third Ward by renovating a block of derelict shotgun houses and creating a welcoming gathering space in an underinvested neighborhood. Although Project Row Houses did revitalize the area through various artist-driven efforts like the Drive-By exhibition shown below, today, gentrification and the effects of the climate crisis continue to displace the residents whom organizers sought to serve.

    O’Neill-Butler doesn’t suggest that artists should be tasked with identifying and implementing solutions to the world’s ills and notes that Houston’s Third Ward would likely have gentrified even without artist intervention and subsequent attention. She does, however, offer a nuanced consideration of each project’s successes and struggles and acknowledges the limits of endeavors like those she outlines. Art provides what the book refers to as “a crack in the wall,” a rupture in the flimsy veneer of power and oppression that, once exposed, threatens their foundational structures.

    The War of Art is out today from Verso. Find your copy in the Colossal Shop.

    Benny Andrews giving a drawing demonstration to students at Alabama State University in Montgomery (October 10, 1975). Image courtesy of the Andrews-Humphrey Family Foundation

    Installing “Home Free” by Israel McCloud for the ‘Drive-By’ exhibition at Project Row Houses (1994). Image courtesy of Project Row Houses

    Aerial view of Project Row Houses (2015). Photo by Peter Molick, courtesy of Project Row Houses

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    Candy-Colored Sculptures by Poh Sin Studio Ornament Aquatic Life

    Detail of “Lacebud.” All images courtesy of Poh Sin Studio, shared with permission

    Candy-Colored Sculptures by Poh Sin Studio Ornament Aquatic Life

    June 17, 2025

    ArtDesignNature

    Grace Ebert

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    In Specimen Garden, Pamela Poh Sin Tan translates the ambiguous ecologies of her large-scale public works into freestanding sculptures. Tan, who works under Poh Sin Studio, frequently fuses principles of art and design, and for this series of coral-inspired forms, she embellishes sand-coated laser-cut steel with small chalcedony stone beads.

    “Inspired by the ethereal elegance of natural systems—coral, roots, jellyfish, diatoms—these works reflect my fascination with the subtle, intelligent structures of the natural world,” she says.

    “Fanora”

    Drawing on the ornamentation traditions of her Chinese-Malaysian heritage, the artist fuses contemporary techniques with timeless themes of fragility, strength, and beauty. “Each piece feels like a living fragment of a surreal coral garden—plant-like in posture, reef-like in texture, and jewel-like in detail,” she says. “Together, they form a quiet ecosystem of imagined species suspended between nature and artifice.”

    Keep up with Poh Sin Studio on its website and Instagram.

    “Melona”

    “Lacebud”

    Detail of “Melona”

    Detail of “Fanora”

    “Aurelia”

    Detail of “Aurelia”

    Detail of “Fanora”

    “Ploomp”

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    Faith XLVII Sews Textiles Made from World Maps and Currency to Explore the ‘Veins of the World’

    “Chaos Theory XXII.” All images courtesy of Faith XLVII and Heron Arts, San Francisco, shared with permission

    Faith XLVII Sews Textiles Made from World Maps and Currency to Explore the ‘Veins of the World’

    June 17, 2025

    Art

    Kate Mothes

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    In our ever more globalized society, we have technology to thank for the unprecedented connectivity we enjoy, both in our ability to fly or sail practically anywhere and have face-to-face video chats from halfway around the globe. It’s easy to forget that the turn-by-turn directions we use on our phones or locations we tag on social media are all built upon time-honored analog maps that have been used for centuries. And forget virtual credit cards—remember good old fashioned cash?

    For South African artist Faith XLVII (previously), cartography, money, and national symbols provide the foundations for ongoing series like The Deconstruction of Value and Chaos Theory. She cuts apart old maps, discontinued currency, and flags, sewing them back together into patterned tapestries. More than a dozen of these pieces will also be on view later this month at Heron Arts.

    Detail of “Chaos Theory XIII”

    Faith XLVII’s solo exhibition, Venarum Mundi—which means “veins of the world” in Latin—examines “the economic and geopolitical systems that structure our world,” the gallery says. Through colorful, quilt-like pieces, the artist is interested in what shifts and shapes our global reality, challenging notions of value, borders, and history.

    Venarum Mundi opens on June 28 and continues through August 2 in San Francisco. Find more on Faith XLVII’s website and Instagram.

    “Chaos Theory XXIII”

    “Entanglement”

    “The Deconstruction of Value IX”

    Detail of “The Deconstruction of Value IX”

    “The Deconstruction of Value XII”

    “The Deconstruction of Value X”

    Detail of “The Deconstruction of Value X”

    “Chaos Theory XX”

    Detail of “Chaos Theory XX”

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    Josh Dihle Toys with Reality in His Topographic Paintings Akin to Fever Dreams

    “Moreau/Detrick Reliquary” (2024),
    walnut, paper pulp, plaster, foam, faux fur, found objects, acrylic, and oil on panel, 40.25 x 31 x 13 inches. All images courtesy of Andrew Rafacz, shared with permission

    Josh Dihle Toys with Reality in His Topographic Paintings Akin to Fever Dreams

    June 16, 2025

    Art

    Grace Ebert

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    “The model railroader is the truest creator: engineer, architect, and master of his own timetable,” reads a statement about Josh Dihle’s feverish exhibition, Basement Arrangement.

    Armed with hundreds of minuscule objects from coral to LEGO, Dihle concocts dreamlike worlds in which figures become topographies and every cavity houses a surprising detail. Peek inside the cheek of “Moreau/Detrick Reliquary,” and find a wooly mammoth with lustrous stones embedded in its wooden tusks. “Confluence” is similar as carved fish jut out of the foam-and-plaster ground alongside trees and palms with widespread fingers.

    Detail of “Confluence” (2025), oil, acrylic, colored pencil, resin, fossils, rocks, LEGO, marbles, beach glass, plastic toys, coral, paper pulp, plaster gauze, foam, cherry, and carved walnut on panel, 57 x 45 x 19 inches

    Evoking model railroads and dollhouses, Dihle’s sculptural paintings incorporate recognizable objects but with an uncanny, if not skewed, perspective. Stretching nearly five feet tall, the large-scale works hang on the wall and draw a contrast between the overall composition, viewed straight on, and the miniature vignettes best taken in at a 90-degree angle. Step back and see an aerial landscape with hills shaped like lips or a sunken nose, while close-up inspection becomes a dizzying hunt for unlikely items tucked into every crevice.

    The exhibition title originates with hermit hobbyists, who seem to come alive when cloistered in worlds of their own making. What appears to outsiders as an escape from reality is, for them, an attempt to organize the chaos and take control, even if in the form of toys and make-believe.

    If you’re in Chicago, see Basement Arrangement at Andrew Rafacz through July 18. Find more from Dihle on his website.

    Detail of “Confluence” (2025), oil, acrylic, colored pencil, resin, fossils, rocks, LEGO, marbles, beach glass, plastic toys, coral, paper pulp, plaster gauze, foam, cherry, and carved walnut on panel, 57 x 45 x 19 inches

    “Moreau/Detrick Reliquary” (2024), walnut, paper pulp, plaster, foam, faux fur, found objects, acrylic, and oil on panel, 40.25 x 31 x 13 inches

    Detail of “Moreau/Detrick Reliquary” (2024), walnut, paper pulp, plaster, foam, faux fur, found objects, acrylic, and oil on panel, 40.25 x 31 x 13 inches

    “Brittle Star” (2025), oil, acrylic, casein, colored pencil, Legos, fossils, rocks, plastic toys, marbles, mosaic tile, buttons, carved walnut, paper pulp, plaster gauze, foam, and plywood on panel, 47 x 21 inches

    “Confluence” (2025), oil, acrylic, colored pencil, resin, fossils, rocks, LEGO, marbles, beach glass, plastic toys, coral, paper pulp, plaster gauze, foam, cherry, and carved walnut on panel, 57 x 45 x 19 inches

    “Sighting” (2025), casein, colored pencil, rocks, fossils, eyeball agate, agate, amber, found objects, plastic toys, mosaic tile, marbles, LEGO, beads, thumb tacks, and beach glass on carved basswood, 18 x 14 x 1.5 inches

    “Falls” (2025), acrylic, turquoise, meteorite, fossil, marble, rocks, plastic toy, paper pulp, plaster gauze, twine, maple, and foam on panel, 42 x 32.5 x 11 inches

    “Radon” (2025), casein, acrylic, resin, turquoise, rocks, LEGO, found jewelry, plastic Micro Machine, fossil, beach glass, and walnut on panel, 13.25 x 10.25 x 1.25 inches

    Detail of “Radon” (2025), casein, acrylic, resin, turquoise, rocks, LEGO, found jewelry, plastic Micro Machine, fossil, beach glass, and walnut on panel, 13.25 x 10.25 x 1.25 inches

    Installation view of ‘Basement Arrangement’

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    ‘Inside Information’ Cutaway Diagrams by Dorothy Dig Into the Makings of Pop Culture Icons

    “Inside Information: Boombox.” All images © Dorothy, shared with permission

    ‘Inside Information’ Cutaway Diagrams by Dorothy Dig Into the Makings of Pop Culture Icons

    June 16, 2025

    ArtDesignHistoryIllustration

    Kate Mothes

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    Taking diagrams to a new level, U.K.-based studio collective Dorothy creates prints that celebrate information—charts, maps, alphabets, color wheels, and blueprints. The team has also plunged into the world of cutaway drawings, which are popular for visualizing otherwise opaque, multilayered objects in the manufacturing world.

    Cutaway diagrams have actually been around for centuries, with the form originating in the 15th-century notebooks of Italian Renaissance engineer Mariano “Taccola” de Jacopo. Dorothy’s twist on the 3D graphic form, a series titled Inside Information, is a celebration of pop culture and modern technology, from Apple computers and sneakers to boomboxes and theremins.

    Detail of “Inside Information: Boombox”

    Each object teems with figures and motifs that have been instrumental in the item’s history and culture, like trailblazing rappers and hip-hop artists who wander stereo box innards in “Inside Information: Boombox” as if it’s a building. The same goes for the Moog, which highlights flashpoints in its development and musical icons like David Byrne and Led Zeppelin who have contributed to its popularity—along with its namesake, of course, Robert Moog.

    Prints are available for purchase on Dorothy’s website, and you can follow updates and releases on Instagram.

    Detail of “Inside Information: Boombox”

    Detail of “Inside Information: Boombox”

    “Inside Information: Claravox – Special Edition for Moog Music”

    Detail of “Inside Information: Claravox – Special Edition for Moog Music”

    Detail of “Inside Information: Claravox – Special Edition for Moog Music”

    Detail of “Inside Information: Claravox – Special Edition for Moog Music”

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    Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence

    “El Hombre y la Montaña” (December 31, 2020). All images courtesy of This Book Is True, shared with permission

    Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence

    June 13, 2025

    ArtBooksPhotographySocial Issues

    Grace Ebert

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    The Mexican state of Guerrero lies on the southern Pacific coast and is home to the popular tourist destination of Acapulco. It’s also one of the nation’s most violent areas due to drug trafficking and cartel presence, and is one of six states that account for nearly half of the country’s total homicides.

    For artist and photographer Yael Martínez, the reality of organized crime became more pronounced when, in 2013, three of his family members disappeared. He began to speak with others in his community who had experienced similar traumas and to connect threads across the borders of Mexico to Honduras, Brazil, and the United States.

    “Itzel at home,” Guerrero, Mexico

    Luciérnagas, which translates to fireflies, comes from Martínez’s meditation on this extreme brutality that “infiltrates daily life and transforms the spirit of a place,” a statement says. Now published in a volume by This Book Is True, the poetic series punctures dark, nighttime photographs with minuscule holes. When backlit, the images bear a dazzling constellation of light that distorts the images in which violence isn’t depicted but rather felt.

    In one work, for example, a man holding a firework stands in a poppy field, a perforated cloud of smoke enveloping his figure. He’s performing an annual ritual on the sacred hill of La Garza, and the setting exemplifies a poignant contradiction between ancestral cultures and a crop that has been subsumed by capitalism and is essential to cartel power. A statement elaborates:

    We don’t see death in Luciérnaga, but its omnipresence is felt throughout, lingering in the shadows of each photograph. Each image painfully underwritten by the result of a calculated violence that visited unseen and undetected, leaving behind the immense void of a vanished loved one. And yet there is always a sense of hope that informs the making of this work.

    Luciérnagas is available from This Book Is True. Find more from Martínez on Instagram.

    “Toro” (2018), Guerrero, Mexico

    “Abuelo-Estrella” (December 21, 2020), Cochoapa El Grande, Guerrero, Mexico

    “Levantada de Cruz” (2021)

    “El Río de la Memoria y Mis Hijas” (2022)

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    Piped Like Cake Icing, Ebony Russell’s Luscious Vessels Evoke Emotional Celebrations

    All images courtesy of Ebony Russell, shared with permission

    Piped Like Cake Icing, Ebony Russell’s Luscious Vessels Evoke Emotional Celebrations

    June 12, 2025

    Art

    Kate Mothes

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    Piping clay with bakery tools, Ebony Russell creates a range of delectable vessels in a prism of colors.

    Russell’s practice is founded in both the relationship between form and function and the nature of the vessel itself as a container for memory and gesture. “I’m interested in how material can carry emotion and presence,” she says. “A lot of what I make starts from personal experience, but I hope it opens space for others to reflect, too.”

    Intrigued by the aesthetics and process of cakes, the Australian artist originally focused on sculptural motifs like bride-and-groom or ballerina toppers, but the icing itself gradually emerged as a focus. “I was searching for a way to build with clay that felt more fluid and intuitive,” she tells Colossal. “When I started using piping bags, I loved the immediacy and texture—it felt like drawing in space.”

    Some of the works shown here are included in Russell’s current solo exhibition, Frivolous, at Martin Browne Contemporary in Sydney, which continues through June 21. Find more on the artist’s website and Instagram. (via PAN)

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    In ‘Pu$h Thru,’ Yvette Mayorga Examines Latinx Experience Through Rococo Maximalism

    “She’s in the cake/Put out the fire, after Nicolas
    Lancret” (2025), collage, glitter, buttons, textile, birthday candles,
    pastel, cardboard, gold foil, silver foil, gold flakes, stickers, cake
    toppers, acrylic marker, acrylic nails, nail charms, and acrylic piping on canvas, 60 x 120 inches. all images courtesy of the artist and Monique Meloche Gallery, Chicago, shared with permission

    In ‘Pu$h Thru,’ Yvette Mayorga Examines Latinx Experience Through Rococo Maximalism

    June 11, 2025

    Art

    Kate Mothes

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    Known for her delectable, frilly, occasionally ominous acrylic paintings made with bakery tools, Yvette Mayorga (previously) nods to memories of her mother working as a baker and references Baroque and Rococo art while critically examining family, community, and notions of prosperity.

    Mayorga’s pieces are “dominated by shades of pink to critically examine the American Dream and the Latinx experience, often borrowing compositions from personal and family photos and art history,” says Monique Meloche Gallery, which presents a solo show of the artist’s work opening this weekend.

    “W3 R TIR3D” (2025), collage, rhinestones, plastic butterflies, acrylic marker, pastel, silver foil, gold foil, pen, acrylic nails, car sticker, butterflies, glitter, gold flakes, silver flakes, textile, belt, rhinestones, nail charms and acrylic piping on canvas, 48 x 36 inches

    Pu$h Thru, the artist’s first show with the gallery and the first in her hometown of Chicago since 2018, takes a semi-autobiographical approach by reflecting on her experiences during the last decade in the city. Beyond her characteristic confection-inspired works, she has created large-scale compositions incorporating found objects like lampshades, clothing, and jewelry, along with bits of ceramic, pastels, gold foil, acrylic nails, and more.

    Many of these works draw on Mayorga’s personal memories, like snapshots of the artist as a child during a birthday party or sitting in her family’s living room. Converging with romantic Rococo aesthetics and style, like portraits modeled after Elizabeth Vigee Le Brun or Jean-Honoré Fragonard, the artist addresses the Euro-centric narrative of art history and its overarching omission of other identities. Mayorga has even coined a term to describe her approach, “Latinxoco,” which merges Latinx identity with Rococo aesthetics.

    “Pink, a color that has a long history with Mayorga’s practice, is deployed as a conceptual strategy to destabilize Western ideals of skin tone, evoking questions of race, class, and gendered embodiment while also referencing cosmetic and domestic aesthetics—an ironic and radical reclamation of softness as strength,” the gallery says.

    Pu$h Thru runs from June 14 to July 26. See more on the artist’s website and Instagram.

    “La Ursupadora Not 4 Me” (2025), collage, textile, glitter, lamp shade, pen, electrical outlet, hoop earrings, shoes, jeans, marker, pastel, drawer handles, lampshade, ceramic, belt, felt, pastel, clock, stickers, gold flakes, gold foil, mirror, acrylic nails, textile, nail charms, TV control, and acrylic piping on canvas, 60 x 120 inches

    “What’s Hidden Beneath (Remnant Series)” (2025), found objects, nail charms, and acrylic piping on canvas, 16 x 12 inches

    “Hot and Ready” (2025), collage, rhinestones, acrylic marker, silver foil, gold foil, pen, pastel, mirror, acrylic nails, stickers, rhinestones, gold flakes, nail charms, collage, glitter and acrylic piping on canvas, 48 x 36 inches

    “Self Portrait of the Artist After Élisabeth Louise Vigée Le Brun” (2025), textile, collage, stickers, gold flakes, silver flakes, pen, lace, buttons, acrylic nails, nail charms, and acrylic piping on canvas, 72 x 60 inches

    “The Portal (Remnant Series)” (2025), found objects and acrylic piping on canvas, 16 x 12 inches

    “Rhinestone Vaquero After Élisabeth Louise Vigée Le Brun” (2025), textile, rhinestones, buttons, belt buckle, gold flakes, silver flakes, glitter, and acrylic piping on canvas, 72 x 60 inches

    “Taffy Taffy (Remnant Series)” (2025), found objects and acrylic piping on canvas, 16 x 12 inches

    “PU$$H PU$$H THRU” (2025), collage, rhinestones, glitter, acrylic marker, silver foil, gold foil, pen, toy boat, mirror, marker, acrylic nails, stickers, textile, leather, nail charms, and acrylic piping on canvas, 48 x 36 inches

    “La Serpiente (Remnant Series)” (2024), found objects and acrylic piping on canvas, 16 x 12 inches

    Installation view of ‘Pu$h Thru’ at Monique Meloche Gallery

    “Party Favor (Remnant Series)” (2025), found objects, nail charms, party favor, and acrylic piping on canvas, 16 x 12 inches

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