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      Intricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art History

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      All images courtesy of Ash Aurich, shared with permission

      Intricate Postage Stamp Tattoos by Ash Aurich Are an Ode to Art History

      March 10, 2025

      ArtIllustration

      Kate Mothes

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      As the saying goes, if one knows very little about something, their knowledge could fit on the back of a postage stamp. But for tattoo artist Ash Aurich, the minuscule format provides a readymade canvas and frame ripe for experimentation, intrigue, and beauty.

      Using a fine line technique with delicate shading, Aurich outlines the unmistakable scalloped edges of the ubiquitous, tiny adhesives, filling rectangular compositions with Renaissance-inspired romantic and religious figures.

      A deep appreciation for iconic artworks inspired Aurich to create tiny odes to art history. “I wanted to be able to capture the essence of these masterpieces in a unique and engaging way,” she tells Colossal. “Having the opportunity to tattoo these designs on others who appreciate art is a rewarding experience.”

      Aurich’s preferred subject matter is people, especially the dramatic and often symbolic figures in art historical masterworks by the likes of Johannes Vermeer or Caravaggio. “The attention to detail, use of light and shadow, and mastery of human anatomy create stunning, lifelike representations that translate beautifully into tattoos,” the artist says. She shares that it’s important for the emotions and narratives of each portrait to resonate with the wearer, especially at their small scale.

      Currently in residency at Atelier Eva, Aurich has opened her books for March and April in New York City. The tattoos seen here are all flash designs, but she creates custom compositions, too. See more on Instagram.

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      Buried for Nearly 2,000 Years, a Monumental Dionysian Fresco Sees the Light of Day in Pompeii

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      Overview of a large fresco inside an excavated banquet gall in Pompeii. Image courtesy of Parco Archeologico di Pompei

      Buried for Nearly 2,000 Years, a Monumental Dionysian Fresco Sees the Light of Day in Pompeii

      March 4, 2025

      ArtHistoryScience

      Kate Mothes

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      When Mount Vesuvius erupted in 79 C.E., the enormous explosion buried the city of Pompeii in an astonishing 19 meters of ash and debris. (A recent study concludes that in the neighboring town of Herculaneum, the blast was so intense that it vitrified a young man’s brain.) Since excavations of the area began in 1748, discovery after discovery has revealed lavish, poignant, and complex details about what life was like nearly 2,000 years ago in the Roman port town.

      When Vesuvius buried everything, the ash provided an extraordinarily protective covering for delicate frescos and structures, like an expansive fresco recently excavated in a banquet hall that “sheds light on the mysteries of Dionysus in the classical world,” says a statement from Italy’s Ministry of Culture.

      Image courtesy of Parco Archeologico di Pompei

      The large-scale painted frieze archaeologists are calling “house of Thiasos” shows the procession of Dionysus, god of wine, along with satyrs and bacchantes—also known as maenads—who are portrayed simultaneously as dancers and hunters.

      In the center of the composition, a woman is accompanied by Silenus, an elderly companion and tutor to Dionysus, holding a torch. The woman “indicates that she is an initiand,” the Ministry of Culture says, “a mortal woman who through a nocturnal ritual is about to be initiated into the mysteries of Dionysus, the god who dies and is reborn and who promises the same to his followers.”

      Spanning three walls of a building—the fourth had been open to a garden—in the so-called Regio IX district, the painting depicts a frieze known as a “megalography,” derived from the Greek for “large painting” and comprising a cycle of paintings with nearly life-size figures. Archaeologists date the fresco to around 40 to 30 B.C.E., nearly 100 years old already by the time Vesuvius erupted.

      Archaeologies typically categorize Roman and Pompeiian painting into four chronological periods or styles: incrustation (structural), architectural, ornamental, and intricate. Each style adapted elements of the previous period to generate new motifs and trends.

      Photo by Agnese Sbaffi and Emanuele Antonio Minerva, courtesy of Ministero della Cultura

      The new banquet hall example is thought to be indicative of the second style in which figures or tableaux are framed within faux architectural niches and trompe-l’œil compositions. Curiously for art historians, all of the figures are depicted on pedestals “as if they were statues,” the Ministry of Culture says, “while at the same time their movements, complexion, and clothing make them appear very alive.”

      Investigations into the Regio IX district, which covers approximately 3,200 square meters, began two years ago. So far, the excavation of the entirely buried block has revealed two atrium houses—already partially explored in the 19th century—plus two workshop houses, some residential rooms of a large domus, a black hall with scenes from the Trojan saga, and a shrine with a rare blue background. More than 50 new rooms have been identified, and there is plenty more yet to uncover.

      As archaeologists gradually chip away at the ancient pile of volcanic detritus, new finds like a food stand and a primitive pizza continue to awe and inspire our understanding of ancient Roman life. The site is open for public visits, and you can explore more on the Archaeological Park of Pompeii’s website.

      Image courtesy of Parco Archeologico di Pompei

      Photo by Agnese Sbaffi and Emanuele Antonio Minerva, courtesy of Ministero della Cultura

      Photo by Agnese Sbaffi and Emanuele Antonio Minerva, courtesy of Ministero della Cultura

      Photo by Agnese Sbaffi and Emanuele Antonio Minerva, courtesy of Ministero della Cultura

      Photo by Agnese Sbaffi and Emanuele Antonio Minerva, courtesy of Ministero della Cultura

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      Watch the Brilliant Ballet that Brought Dance to the Bauhaus Movement

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      From a performance by the Bavarian Junior Ballet

      Watch the Brilliant Ballet that Brought Dance to the Bauhaus Movement

      March 3, 2025

      ArtDesignFilmHistory

      Grace Ebert

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      Given the emphasis on functionality and design for industrial production, the Bauhaus movement is rarely associated with disciplines like dance. But for Oskar Schlemmer (1888-1943), translating its principles into movement and performance was as compelling as a well-conceived chair or building.

      In the last century, the Bauhaus has indelibly shaped our modern built environments and the ways we think of the relationship between form and function (it even inspired conceptual cookbooks). German architect Walter Gropius founded the school in 1919 in Weimar, Germany, with the intention of uniting architecture, fine arts, and crafts. The school focused on minimalism and creating for the social good and involved artists and designers like Ludwig Mies van der Rohe, László Moholy-Nagy, Wassily Kandinsky, Paul Klee, and Anni and Josef Albers.

      Costume designs for the ‘Triadic Ballet.’ Courtesy of Harvard Art Museums

      The Master of Form at the Bauhaus theatre workshop, Schlemmer was a painter, sculptor, and choreographer responsible for the under-known Triadic Ballet, a striking, playful dance structured around groups of three. Debuted in 1922, the avant-garde production comprises three colors—yellow, pink or white, and black—and three costume shapes—the square, circle, and triangle.

      “Building on multiples of three,” says an explanation from MoMA, “transcended the egotism of the individual and dualism of the couple, emphasizing the collective.”

      In true Bauhaus form, the idea was to eliminate the decorative frills associated with ballet, including tutus that allow bodies to bend, twist, and explore a full range of mobility. Instead, Schlemmer’s costumes restrict movement and add a modern quality as dancers appear stifled and almost mechanical, a nod to the movement’s focus on accessibility through mass production and turning “art into industry.”

      Several of Schlemmer’s illustrations for the ballet are available online, including his bizarre sculptural costume designs with wide, bubbly skirts and vibrantly striped sleeves. MoMA’s collections contain a print titled “Figures in Space,” which reveals one of the performance’s foremost preoccupations: how bodies move and interact in space.

      As seen in a fully colorized film of the dance from the 1970s, the dancers are incredibly deliberate as they navigate sparse sets with clean lines. Open Culture notes that they appear almost like pantomimes or puppets “with figures in awkward costumes tracing various shapes around the stage and each other.”

      A few years back, Great Big Story created a video visiting the Bavarian Junior Ballet as it prepared for a performance. The costumes are faithful to Schlemmer’s vision and retain the rigid geometries and bright palettes. As noted by director Ivan Liška, the strange attire combined with the jilted, robotic choreography often leaves the audience laughing. “It’s very successful because the audience can’t believe this is 100 years old,” he says. “There you see the visionary power of Oskar Schlemmer.”

      Triadic Ballet is rarely reproduced, but Bavarian Junior Ballet will bring the work back to the stage this June to celebrate its 15th anniversary. And if you’re in New York, you can see one of Schlemmer’s studies in Living in the Age of the Machine at MoMA. It’s also worth exploring The Oskar Schlemmer Theatre Estate and Archives, which boasts a trove of archival imagery and drawings on its website.

      From a performance by the Bavarian Junior Ballet

      Some of the original costumes

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    • 150 Shares109 Views

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      Ruby Sky Stiler Reassesses Women’s Role in Art History in Geometric Portraits

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      “Artist with Green Palette” (2024), canvas, acrylic, pencil, and jade adhesive on panel, 44 x 34 inches. All images © Ruby Sky Stiler, courtesy of the artist and alexander Gray Associates, New York, shared with permission

      Ruby Sky Stiler Reassesses Women’s Role in Art History in Geometric Portraits

      February 27, 2025

      Art

      Kate Mothes

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      Up close, the irregularly gridded, geometric backgrounds of Ruby Sky Stiler’s paintings evoke patchwork or the patterns of agricultural landscapes seen aerially. Intricate patterns intersect in each rectangle, hinting at floral or decorative motifs that, when viewed from further away, appear almost topographical. Merging with this groundwork are boldly delineated women who often directly return the viewer’s gaze.

      Reassessing the history of Western art, Stiler positions women in what she has previously described as “the empowered role as The Artist.” Rather than muses or objectified subjects, she imbues her figures with qualities of control, liberty, and leisure.

      “Woman with Children in Blue” (2024), canvas, acrylic, pencil, and jade adhesive on panel, 44 x 50 inches

      Recently on view at Frieze LA with Alexander Gray Associates, Stiler’s paintings continue to reenvision 20th-century abstraction, especially the predominantly male Cubist movement that burgeoned around 1907 and 1908. She turns the tables on the historically gendered dichotomy in fine art, transferring the role of women as subjects of paintings to that of creator.

      In works like “Women with Children in Blue,” Stiler portrays nude figures in repose or with children, emphasizing another potent definition of women as creators and caregivers. Through mosaic-like compositions, she challenges art historical tropes and reasserts more inclusive, contemporary definitions of gender roles in art.

      Stiler employs a meticulous graphite transfer process to apply patterned outlines to her pieces, nodding to textile design—a craft tradition also historically trivialized in the art world as “women’s work.” Pastel acrylic hues fill out bodies and backgrounds, while bold outlines evocative of minimalist Bauhaus design clarify bodies and objects.

      Stiler is currently preparing a solo exhibition with Alexander Gray Associates scheduled for November. Explore more on her website and Instagram.

      “Two Women in Sienna and Umber, with Red Outline” (2024), canvas, acrylic, pencil, and jade adhesive on panel, 44 x 50 inches

      “Blue Woman” (2024), canvas, acrylic, pencil, and jade adhesive on wood panel, 18 x 15 1/2 inches

      “Seated Blue Figure (with turquoise and red outline)” (2024), canvas, acrylic, graphite, and jade adhesive on panel, 44 x 34 inches

      The artist transfers graphite patterns onto canvas

      Stiler displays preparatory sketches in her studio

      Swatches are labeled for use in a painting

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      In ‘Flying High,’ Tyler D. Ballon’s Portraits Parallel Sports, History, Identity, and Patriotism

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      “Fellow Countrymen” (2024-25), oil on canvas, 78 x 73 inches. Photos by Genevieve Hanson. All images courtesy of Tyler Ballon and Jeffrey Deitch, New York, shared with permission

      In ‘Flying High,’ Tyler D. Ballon’s Portraits Parallel Sports, History, Identity, and Patriotism

      February 21, 2025

      ArtHistory

      Kate Mothes

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      In Édouard Manet’s painting “The Execution of Emperor Maximilian” — actually a series of works completed between 1867 and 1869 — a firing squad dramatically executes the Hapsburg royal and two generals. Maximilian became Emperor of Mexico at the urging of Napoleon III, following the second French intervention in the country between 1861 and 1867.

      For his forthcoming solo exhibition, Flying High at Jeffrey Deitch, New Jersey-based artist Tyler D. Ballon recreates the 19th-century painter’s work in a 16-foot-wide diptych titled “Right to Bear Arms/Second Amendment” that portrays two young Black men protecting three young Black women, who look directly at the viewer with dignity, in defiance of objectification.

      “Right to Bear Arms/Second Amendment” (2024-25), oil on canvas, diptych, overall 70 x 193.5 inches

      “Seeing a gun pointed at a person of color is something that’s familiar to American history,” Ballon says in a statement. “But having an African American man holding a rifle is distinctively different. The work challenges perceptions of Black men bearing arms, reclaiming their image as patriots and protectors, and pays homage to the Civil War troops.”

      Patriotism and narrative weave throughout Ballon’s architectonic works, drawing on the legacy of history painting, African Americans in the Civil War, and identity through the lens of contemporary sports. The artist says:

      While creating these paintings, I realized there is an interesting dichotomy between sports being a tool for success and having Black bodies being used to advance America’s ambition. My paintings challenge stereotypes that confine people of color to achieving success solely through physical prowess or musical talent. These works celebrate the resilience of young African Americans who carve out better lives using the resources available to them.

      Ballon excavates Black American history, paying homage to those who fought for citizenship and freedom. Through football, a quintessentially American sport, he evokes military ideologies that also offer young men “an avenue to channel their aggression, build camaraderie, and find fulfillment,” he says.” Games evoke battles; coaches are likened to generals or lieutenants; and key players are assigned to be offensive or defensive “captains,” leading their teammates and relaying calls from the sidelines.

      “Sound of Victory” (2025), oil paint on canvas, 82 x 78 inches

      Choosing his hometown of Jersey City’s Abraham Lincoln High School to represent a metaphorical and symbolic regiment, Ballon nods to Black Civil War veterans who fought for African Americans’ rights. Football is also channeled as a means for young people to advance to higher education and further their future prospects. “The children in these paintings are a testament to progress and a source of hope for the future,” the artist says.

      In “Before the Battle,” players suit up and a coach stands off to the left, looking directly back at us, as do many of the determined players. In “Fellow Countrymen,” we see three distinguished players who also make eye contact, geared up and ready to take on whatever the opposing team throws their way. Our perspective is always just a little bit lower than eye level with the figures, encouraging us to view them in subtle reverence, as we would with many of art history’s grand portraits and battle scenes.

      Ballon grasps the troubled legacy of some early 19th-century history painting, which prior to the widespread use of photography was one way that the European public could comprehend their nations’ overseas colonial empires, all of which deeply and violently impacted Black and Indigenous peoples.

      History painting was seen as a form of documentation, sometimes criticized for its lack of accuracy with regard to depictions of battles, but it proved a powerful method for furthering white European imperial attitudes. For Ballon, appropriating the genre yields a powerful tool, turning the tables on both who makes and is portrayed in the monumental scenes.

      Detail of “Right to Bear Arms/Second Amendment”

      Ballon also celebrates marching bands, historically used to convey orders and signals to military troops, which over time assumed the role of morale- and unity-boosters. “I choose to portray the marching band of Malcom X Shabazz High School for their renowned excellence in performance, their New Jersey roots, and their namesake, Malcom X, a pivotal leader during the Civil Rights Movement whose ideology helped shape African American culture and history,” Ballon says.

      The title of the exhibition, Flying High, reflects the aspiration to rise above the adversities of inner city life. “My work focuses on the lives and experiences of the people in my community,” Ballon says. “I believe in capturing moments that can inspire and validate their existence, extending their stories beyond geographic and temporal boundaries. I want young people to see themselves as worthy of being immortalized in art—a recognition that transcends time.”

      Flying High runs from March 8 to April 19 in New York City. See more on the artist’s website and Instagram.

      “Before the Battle” (2024-25), oil on canvas, diptych, overall 90 x 134 inches

      Detail of “Before the Battle”

      Detail of “Sound of Victory”

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    • 163 Shares199 Views

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      Wayne Thiebaud’s Passion for Art History Shines in ‘Art Comes from Art’

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      “Buffet” (1972-1975), oil on canvas, 48 1/8 x 60 1/8 inches. Photo by Katherine Du Tiel. All images © Wayne Thiebaud Foundation, licensed by VAGA at Artists Rights Society (ARS), NY, courtesy of UC Press, shared with permission

      Wayne Thiebaud’s Passion for Art History Shines in ‘Art Comes from Art’

      February 20, 2025

      ArtBooksHistory

      Kate Mothes

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      If imitation is the sincerest form of flattery, Wayne Thiebaud (1920-2021) knew how to appropriate most ardently. The renowned artist once said, “It’s hard for me to think of artists who weren’t influential on me because I’m such a blatant thief.”

      Next month, a major retrospective highlights Thiebaud’s six-decade career, featuring around 60 quintessential works spanning a range of subject matter. From his celebrated still-lifes of dessert displays and prosaic household objects to portraits, cityscapes, and expansive natural vistas, Wayne Thiebaud: Art Comes from Art takes a deep dive into the artist’s engagement with art history.

      “Five Seated Figures” (1965 ), oil on canvas, 60 x 72 inches

      Thiebaud spent time in the 1950s with abstract artists like Franz Kline and Elaine and Willem de Kooning in New York City, where he also met Robert Rauschenberg and Jasper Johns whose mixed-media practices incorporated found objects in conceptual, proto-Pop Art paintings and assemblages. While in the city, Thiebaud made small paintings of food displayed on windows, which he further explored when he returned to California.

      Thiebaud’s career originated with a focus on illustration and cartoons, which aligned with the emergence of Pop Art in the U.S. in the early 1960s. A response to the austerity of the First and Second World Wars, the movement celebrated bold colors, repetition, and everyday objects and commodities.

      Art Comes from Art showcases how Thiebaud borrowed from the breadth of European and American masterworks, from Henri Matisse to Richard Diebenkorn to Andrea Mantegna. “I believe very much in the tradition that art comes from art and nothing else,” the artist said.

      Thiebaud copied, reinterpreted, mashed up, and transformed art history into his own artistic vision, viewing other artists’ cumulative work as a kind of archive or repository—an encyclopedic “bureau of standards” that he could “steal” from while simultaneously paying tribute to titans of the Western art canon.

      “Three Machines” (1963), oil on canvas, 30 x 36 1/2 inches. Photo by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco

      In oil paintings like “35 Cent Masterpieces,” Thiebaud renders a display of artwork reproductions evocative of postcards or bookshelves in a museum gift shop. And lighting redolent of Edward Hopper, also known for depicting everyday American scenes, contrasts the subjects of “Five Seated Figures.” Along with Thiebauld’s vibrant, buttery portrayals of meals and treats with characteristically glowing blue shadows, additional pieces reference Rembrandt, George Seurat, Édouard Manet, and many more.

      Wayne Thiebaud: Art Comes from Art opens at San Francisco’s Legion of Honor on March 22 and continues through August 17. The show is accompanied by a catalog published by UC Press slated for release in mid-April. Find your copy on Bookshop.

      “Bar-B-Qued Chickens” (1961), oil on canvas, 19 x 24 inches

      “Canyon Mountains” (2011-2012), oil on canvas, 66 1/8 x 54 1/8 inches. Photo by Katherine Du Tiel

      “Betty Jean Thiebaud and Book” (1965-1969), oil on canvas, 36 x 30 inches

      Front cover of ‘Art Comes from Art’ featuring “35 Cent Masterworks” (1970-1972), oil on canvas, 36 x 24 inches

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      Watery Landscapes Set the Stage for Lachlan Turczan’s Ephemeral Light Installations

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      “Veil IV” (2024), water, light, silt, 15 x 15 x 3 feet. All images © Lachlan Turczan, shared with permission

      Watery Landscapes Set the Stage for Lachlan Turczan’s Ephemeral Light Installations

      February 14, 2025

      ArtNaturePhotography

      Kate Mothes

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      In the dreamy installations of Lachlan Turczan, natural and perceptual phenomena combine in otherworldly installations merging technology with aquatic landscapes. Water is central to the Los Angeles-based artist’s work and helps shape an ongoing series of immersive projects incorporating light and sonic phenomena.

      Turczan is influenced by the Light and Space movement, which originated in Southern California in the 1960s and is characterized by the work of John McLaughlin, Robert Irwin, James Turrell, Lita Albuquerque, and more. The movement focused on perception, employing materials like glass, neon, resin, acrylic, and fluorescent lights to emphasize light, volume, and scale.

      “Constellation Grid” (2024), water, light, and fog. A swamp in Upstate New York

      Many Light and Space artists created installations and immersive spaces conditioned by naturally occurring elements like Turrell’s ever-changing glimpse of the sky through a ceiling aperture for “Space that Sees.” Not only does the view change as clouds roll by or the weather shifts, but the light continuously transforms the entire room.

      “While my work shares this lineage,” Turczan tells Colossal, “it diverges in several key ways: rather than exploring the ‘nature of experience,’ I create experiences of nature that challenge our understanding of light, water, and space.” He describes his approach as “complicating” these elements, emphasizing the ever-changing fluidity of the environment.

      In Turczan’s ongoing Veil series, light installations unfold organically in locations ranging from Death Valley’s Badwater Basin to a flooded park near the Rhine River. Lasers and beams of light are projected and submerged, capturing the movement of wind, mist, and the water’s surface.

      Additional pieces also merge light and water, like “Aldwa Alsael,” which translates to “liquid light,” and was commissioned for the 2024 Noor Riyadh Light Art Festival.

      “Veil I” (2024), light, water, and salt. Death Valley, California

      “For the most part, these installations unfold organically,” Turczan says. “I may discover a location in nature that seems perfect for a new Veil sculpture, but when I return, the conditions have inevitably changed.” Evolving circumstances require the artist to proceed with an openness to chance encounters that strike a balance between preparation and intuition.

      Find more on Turczan’s website, and follow updates on Instagram. (via This Isn’t Happiness)

      “Death Valley Veil” (2024), water, light, and haze. Lake Manly, a temporary lake that formed in Death Valley’s Badwater Basin after Hurricane Hillary

      “Veil II” (2024), light, water, and steam. Mojave Desert, California

      “Aldwa Alsael” (2024), water, light, and steel tower, 25 x 25 x 50 feet

      “Veil V” (2024), water and light, 15 x 15 x 3 feet

      “Aldwa Alsael”

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    • 125 Shares129 Views

      in Art

      ‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments

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      “Spectrum. An Afterthought” (1975–2014), synthetic fabric, neon lamps, colored filters, steel, aluminum, plywood, and plastic,
      40 x 105.6 x 53.9 meters. Photo by Antanas Lukšėnas. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      ‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments

      February 10, 2025

      ArtDesign

      Kate Mothes

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      From immersive fabric installations and sculptures to photography, landscape design, and architecture, the work of Aleksandra Kasuba (1923-2019) merges myriad ideas about how we experience the world around us. The intersection of technology and nature enchanted the late Lithuanian artist, and she often experimented with a variety of materials and the effects of light, hue, and tension to explore relationships between ourselves and notions of shelter and place.

      The first major exhibition of her work in Europe, Imagining the Future at Carré d’Art—Musée d’Art Contemporain, explores the incredible breadth of Kasuba’s artistry.

      “Shell Dwellers III” (1989), paper and collage, 35 × 43.5 centimeters. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Born to an aristocratic family, Kasuba enrolled in art school in 1941, focusing primarily on sculpture and textiles. She married artist Vytautas Kašuba, with whom she fled Lithuania in 1944 in the wake of the Nazi occupation of the country. They landed in a displaced-persons camp in Germany where they stayed until making their way to New York in 1947, and her experience as a refugee and an immigrant significantly affected her work.

      In the U.S., Kasuba found employment in crafts and design and began laying the foundations for her future artistic practice, which merged applied and functional arts with abstraction. Her interdisciplinary practice took shape in earnest the 1950s and 1960s and was deeply influenced by tenets of modernism and the era of space exploration, which cast humanity’s existence on Earth in a new light.

      Mid-20th century scholarship on vernacular architecture also inspired Kasuba, and she was moved by a visit to Bernard Rudofsky’s 1964 exhibition Architecture Without Architects at the Museum of Modern Art in New York. He took a broader view of global architecture than the field typically covered and emphasized the ingenuity and beauty of structures built by Indigenous cultures.

      Rudofsky suggested that modernism—particularly modern architecture—had lost touch with the real needs of society, and he urged viewers to pay attention to artistic, idiosyncratic, culturally rich local styles free from elitist design rules.

      “Rock Hill House” (2002). Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Kasuba’s artistic practice blended with daily life in her own living spaces, too, from her New York City home in the 1970s to Rock Hill House, a sculptural dwelling in the New Mexico desert she completed between 2001 and 2005.

      The convergence of sculpture and environmental design also fascinated the artist, spurring unique material combinations in large-scale public interventions and spatial installations. Concerned with how we move through places and are affected by our surroundings, she was also commissioned to create numerous public wall installations using materials like brick, marble, and granite.

      Kasuba explored the relationships between transparency, color, and light in works like “Spectrum,” privileging organic shapes and an immersive passageway made from stretched nylon. Her Space Shelters series, composed of fabric in curving forms without ninety-degree angles, exemplifies her desire to harmonize nature, people, and technology.

      Imagining the Future continues through March 23 in Nîmes, France. Learn more on the museum’s website.

      “Dreaming III” (1963), white marble, 103 x 91 centimeters. Photo Antanas Luksenas. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

      “Live-In Environment, 43W90, NYC” (1971–1972). From the digital archive of Aleksandra Kasuba. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

      Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

      “Rock Hill House” (2005). Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

      Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier

      “Shell Dwellers VI” (1989), paper and collage, 35 × 43.5 centimeters. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba

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