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    Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings

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    “Dancer” (2024), Bourgoin-Jallieu, France. All images courtesy of Artez, shared with permission

    Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings

    August 4, 2025

    Art

    Kate Mothes

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    With acrobatic finesse, the figures in Artez’s large-scale murals interpret the boundaries of the walls themselves through contemporary dance and moments of repose.

    Currently working on an ongoing series titled Simple Acrobatics, the artist explains that he aims to “break away from the conventional approach of depicting the human figure on a mural and offer a fresh perspective on how the human form can be portrayed in public spaces.” Dancers fill the sides of buildings, sometimes using a chair as a prop, stretching around the confines of the wall as if challenging its boundaries.

    “Simple Acrobatics” (2025), Wuppertal, Germany

    Another recent theme, Thirst, portrays people drinking from vases of flowers. The unusual gesture nods to a sense of awareness, inviting viewers to consider society—its conventions and expectations—and contemplate the world around them anew.

    Artez is currently in Gothenburg, Sweden, working on a new Simple Acrobatics mural. Find more on Instagram.

    Patras (2024). Photo by KLE

    “Thirst (Milena)” (2024), Aalborg, Denmark

    Cerzeto, Italy (2024)

    “Simple Acrobatics” (2024), Bristol, U.K.

    “Simple Acrobatics” (2024), Boulogne Sur Mer, France

    “Sleepers” (2023), Cacak, Serbia

    “Simple Acrobatics” (2024), Zagreb, Croatia

    “Thirst For Nature “(2024), Belgrade, Serbia

    “Simple Acrobatics” (2024), Cheltenham, U.K.

    “Moving Residents” (2023), Deventer, The Netherlands

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      Among Andalusian Vineyards, a Vivid Carpet Creates a Space for Gathering

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      All images courtesy of Javier de Riba, shared with permission

      Among Andalusian Vineyards, a Vivid Carpet Creates a Space for Gathering

      July 25, 2025

      ArtDesign

      Grace Ebert

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      Nestled among the vineyards of Andalusia, a bold intervention creates a space for gathering in the small village of Montemayor. “Pasera” is the latest addition to Javier de Riba’s ongoing Floors series, a project focused on reclaiming small plots of land as communal sites.

      “Pasera” refers to the fields where grapes shrivel up into raisins, producing the exceptionally sweet Pedro Ximénez-style dessert sherry typical throughout the region. Mimicking a patterned carpet, de Riba’s mural is a vibrant motif of burgundy and soft yellow, a nod to the fruits that surround it.

      The local community held a breakfast to inaugurate the new work, which the artist notes is an important part of instilling pride and ownership over the space. “As the feeling of home is a feeling that is created, and it fades if not taken care of, now it depends on its use and care to ensure that this meeting place remains alive,” he adds.

      De Riba offers prints and picnic blankets featuring his unique motifs in his shop. Find much more on his website and Instagram.

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      Five Latinx Artists Explore Materiality, Identity, and Belonging in ‘Los Encuentros’

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      Facade mural by Ozzie Juarez. Photos by Alex Marks. All images courtesy of Ballroom Marfa, shared with permission

      Five Latinx Artists Explore Materiality, Identity, and Belonging in ‘Los Encuentros’

      July 23, 2025

      ArtSocial Issues

      Kate Mothes

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      Marfa sits at the crossroads of US-90 and US-67 in the expansive Chihuahua Desert of far West Texas. About 60 miles from Mexico, U.S. Border Patrol trucks are a common sight along the roads, in addition to an unmissable, otherworldly tethered surveillance blimp that hovers near the highway between the town center and one of its most iconic installations, Elmgreen & Dragset’s “Prada Marfa.”

      As the current administration’s immigration policy has taken effect, the politics of identity and geography have again been thrust front and center—often violently. In this remote borderland, where the one-stoplight-town has been redefined by influential art world personalities for several decades in an idiosyncratic convergence of ideas and lifestyles, there is a unique opportunity to engage with themes of community, narrative, socio-economic realities, and a sense of place.

      Justin Favela

      Ballroom Marfa’s summer exhibition, Los Encuentros, gathers the work of Latinx artists Justin Favela, Ozzie Juarez, Antonio Lechuga, Narsiso Martinez, and Yvette Mayorga. The gallery describes an aim of the show, the title of which translates to “the meetings” or “the gatherings,” as “the representation of Latinx culture to confront the accessibility of art spaces, colonial art histories, the conditions of labor, and lived experience.”

      Amid daily news reports of ICE raids around the nation, the work in Los Encuentros is a timely and provocative exploration of today’s societal complexities along with being a way of “responding to the experiences of the people and places they engage with and depict,” a statement says.

      All the artists employ a wide range of materials and techniques, from Mayorga’s frosting-like, piped paint to Favela’s vibrant ruffled paper installations redolent of piñatas. Lechuga uses Mexican blankets, or cobijas, creating sewn textile collages that explore a wide range of experiences and perspectives amid the current political climate.

      Martinez continues to create intimate, candid portraits of farm workers by using produce boxes, bags, and repurposed plastic as his substrates as a reminder of the often invisible labor that goes into putting food on Americans’ tables. And Juarez has completely transformed Ballroom’s facade in to a giant painting derived from ancient Mesoamerican motifs.

      Narsiso Martinez

      Los Encuentros is curated by Texas-based Maggie Adler, who expressed delight at being able to collaborate “with artists whose practices center on allowing a broad range of community members to see themselves represented in art spaces.”

      The show continues through October 12. Find more on the gallery’s website. And during open hours, keep an eye out for Rachel Hayes’ colorful patchwork flag that flies out front.

      Ozzie Juarez

      Narsiso Martinez

      Justin Favela

      Antonio Lechuga

      Detail of a work by Antonio Lechuga

      Yvette Mayorga

      Detail of a work by Yvette Mayorga

      Antonio Lechuga

      Detail of a work by Antonio Lechuga

      Narsiso Martinez

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      Unity and Resilience Flow Through Taquen’s Gestural Compositions

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      Unity and Resilience Flow Through Taquen’s Gestural Compositions

      July 10, 2025

      ArtSocial Issues

      Jackie Andres

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      In large-scale minimalist compositions, street artist Taquen covers the sides of houses, hospitals, and street barriers with reminders of strength and mutual understanding.

      Often depicting animals in motion, kinetic portraits, and expressive hands, Taquen’s expansive works exude momentum. The importance of movement reflects a central tenet of the artist’s practice, as he visits different parts of the world to work on murals.

      One of his recent excursions was made possible by The Jaunt, a residency program that creates opportunities for artists to travel to a new destination to spark inspiration and connection. In February, Taquen made the journey from his hometown of Madrid to Africa to participate in the Sahara Marathon.

      Established in 2001 to advocate for and demonstrate solidarity with the Sahrawi people, the international event takes place in close proximity to Tindouf, Algeria, a region that has been marked by the Western Sahara Conflict and humanitarian crisis for decades.

      In 1975, when Spain relinquished its colonial rule over the Western Sahara region, a power vacuum erupted between neighboring countries, leading to the Madrid Accords. This agreement heavily ignored the voices of Indigenous Sahrawi people who were forced into displacement, eventually settling into refugee camps that still reside in the Algerian desert approximately fifty years later.

      The long-standing conflict has faded in and out of headlines for decades, but the Sahara Marathon has continued to shine a light on the resilience of the Sahrawi people. “It was a project that allowed me to combine my greatest passions—art and sport—and also to contribute as much as possible to this unjust cause,” Taquen shares.

      The artist’s resulting silkscreen print demonstrates his experiences in Tindouf. Featuring two gestural hands with bold line work that subtly nods to henna, Taquen references young Sahrawi women, who play a vital role in the desert’s society. “During the marathon, for example, they were the ones who encouraged us the most,” the artist shares. “In the houses where we lived, they took care of us, their families, and so on. They are an example.”

      Arabic text lies below, alluding to a phrase that resonated with Taquen along the way. “The Sahrawi people living in the refugee camps call this place ‘the desert in the desert,’ which is meant both geographically and metaphorically. I knew I wanted to reference that in my artwork,” he says.

      Beyond the limited-edition print, Taquen also created a four-color risograph portrait combining line drawings and analog photography. And before leaving the refugee camps, the artist hosted two art workshops for children, sharing, “at the end of the day, these are boys and girls who do not speak my language, but through drawing we were able to express ourselves. It taught me a lot about their ideas and their hopes for the future.”

      The artist is currently in Sicily completing the Graniti Murales residency and has a busy year coming up including an art festival this summer and a solo exhibition in the fall. Keep up with his work on Instagram, and learn more on his website.

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    • 138 Shares169 Views

      in Art

      Blackburn’s National Festival of Making Celebrates Collaborations Between Art and Industry

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      Morag Myerscough in collaboration with Crown Paints. Photos by Robin Zahler. All images courtesy of the artists and the National Festival of Making, shared with permission

      Blackburn’s National Festival of Making Celebrates Collaborations Between Art and Industry

      July 9, 2025

      ArtCraftDesign

      Kate Mothes

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      Every year, in the town of Blackburn, Lancashire, a vibrant festival erupts with creativity in a celebration of art, craft, and industry. This year marked the seventh edition of the National Festival of Making, organized along the theme of “Art in Manufacturing.” Acclaimed artists and designers teamed up with industry leaders to create works using a variety of materials, from Morag Myerscough’s collaboration with Crown Paints for a vibrant new mural to Liaqat Rasul’s partnership with textile producer Herbert Parkinson for an optical installation.

      Locality played a central role in the festival, as artists were paired with manufacturers in Lancashire. Matter at hand, the design practice of Lewis Jones, teamed up with Darwen Terracotta and Faience, which focuses on traditional glazed earthenware for home products and restoration (faience is a type of tin-glazed pottery).

      Liaqat Rasul in collaboration with Herbert Parkinson, “Umeed (Oh-meed) امید – Gobaith – Hope”

      Matter at hand created a large-scale installation titled “Poured Earth,” which takes an architectural approach to materials in the northern transept of Blackburn Cathedral. The piece invites visitors to walk through an archway of wooden crates and around cast elements in various shapes and sizes, emphasizing the timelessness and continuity of earthen building materials and styles.

      Morag Myerscough transformed a corner building into a characteristically vivid, geometric floral mural with complementary garden boxes and a water tank. Rasul’s piece, a multifaceted textile assemblage suspended in the Blackburn Cathedral crypt, features a friendly face made of independent elements that merge into a full visage when viewed from the front.

      Titled “Umeed (Oh-meed) امید – Gobaith – Hope,” the piece was created from scraps salvaged from Herbert Parkinson’s factory floor in addition to the artist’s own archive. Rasul tenderly embroidered the Urdu, Hindu, and Welsh words for “hope” amid various found elements like cord and safety pins.

      The National Festival of Making features a program of more than 100 workshops, performances, artist talks, markets, and more across more than 20 Blackburn venues. Emphasizing the power of collaboration, cross-disciplinary exploration, and community, the festival aims to empower people of all ages to lean into curiosity and get making.

      Rasul and Lewis’s work will be on view through July 12, with Myerscough’s mural intended for long-term display. Find more on the festival’s website.

      Matter at hand in collaboration with Darwen Terracotta, “Poured Earth”

      Matter at hand in collaboration with Darwen Terracotta, “Poured Earth” (detail)

      Morag Myerscough in collaboration with Crown Paints

      Liaqat Rasul in collaboration with Herbert Parkinson, “Umeed (Oh-meed) امید – Gobaith – Hope” (detail)

      Matter at hand in collaboration with Darwen Terracotta, “Poured Earth” (detail)

      Detail of a mural by Morag Myerscough in collaboration with Crown Paints

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      in Art

      London’s Largest Ancient Roman Fresco Makes for the ‘World’s Most Difficult Jigsaw Puzzle’

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      Timelapse of the MOLA specialist team reassembling a section of wall plaster. All images © MOLA (Museum of London Archaeology), shared with permission

      London’s Largest Ancient Roman Fresco Makes for the ‘World’s Most Difficult Jigsaw Puzzle’

      June 23, 2025

      ArtHistory

      Kate Mothes

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      One of the remarkable things about a city like London, which has been inhabited for nearly 2,000 years, is that no matter where a developer chooses to build, chances are there’s some relic of the past buried below ground. Archaeologists are routinely called to new development sites to carefully verify the presence—or not—of everything from early structures to centuries-old graveyards. And in a place founded by the Romans shortly after 43 C.E., we can occasionally glimpse astonishing finds from well over 1,000 years ago.

      This year, a team of researchers from the Museum of London Archaeology (MOLA) has been hard at work in a development site known as The Liberty, which has already revealed ancient mosaics and a mausoleum. But the discoveries keep coming. Scattered in pieces, the city’s largest-ever collection of painted Roman plaster was found amid the rubble, dating back at least 1,800 years.

      MOLA specialist Han Li reconstructing the wall plaster

      The first structures on this site appeared between 43 and 150 C.E., and the frescoed wall would have stood in a high-status Roman building. Sometime before 200 C.E., the building was demolished and the plaster pieces discarded in a pit. Seeing the light of day for the first time since, it was a dream opportunity for MOLA researchers.

      Han Li, MOLA’s Senior Building Material Specialist, spent three months reconfiguring the artwork with the help of a team of researchers. He explained that pieces had been jumbled together when the building was demolished, so figuring out how the fresco was originally composed took a lot of tinkering and patience. “It was like assembling the world’s most difficult jigsaw puzzle,” he says.

      Even the most avid jigsaw fans will appreciate that this type of puzzle is a real mind-bender—there’s no picture to look at for comparison. But there are clues. This era of Roman painting commonly incorporated color panels with border motifs and elements that imitated stone slabs like porphyry without the expense or labor involved in hauling that much material. And while this work is fairly representative of the style, the use of the color yellow is particularly rare and found in only a few very luxurious buildings around the U.K.

      The fresco also tells the story of visitors and passersby who left graffiti, including an image of a crying woman with a hairstyle common in the Flavian period (69 to 96 C.E.) and a carved Greek alphabet. It’s thought that the latter could have served a practical purpose, like a tally sheet or a checklist.

      Wall plaster reconstruction illustration by Faith Vardy

      One special detail comes in the form of what’s known as a tabula ansata, a carving of a decorative tablet that Roman artists used to sign their work. It contains the Latin word “FECIT,” which means “has made this.” Sadly, the part where the artist’s name would have appeared is too broken to determine, so their identity will likely remain a mystery.

      Explore more of MOLA’s excavations and projects on its website.

      The remains of the tabula ansata

      MOLA specialist Han Li reconstructing the wall plaster

      Sections of bird decorations on the Liberty wall plaster

      A MOLA archaeologist uncovers the wall plaster during excavations at The Liberty site

      Sections of floral decoration on the Liberty wall plaster

      Yellow and imitation porphyry panels

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      Reskate’s Youthful Murals Transform into Glowing Symbols of Peace

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      Reskate’s Youthful Murals Transform into Glowing Symbols of Peace

      June 5, 2025

      Art

      Jackie Andres

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      During the day, Reskate’s extensive murals cover large swathes of space on buildings, stage backdrops, and even transformer towers. While these monumental public works are striking during sunlit hours, they completely transform with the darkness of night.

      Artists Javier de Riba and María López are the artistic duo behind Reskate. Primarily based in Barcelona, both artists travel throughout the year, visiting different corners of the world to complete projects to “raise awareness of care for culture, nature, and peace.”

      Detail of “Paix” (2025). Reims, Champagne. Image by Romain Berthiot

      Reskate’s subjects are often children. In a bold, illustrative style with graphic linework, the artists depict young figures holding objects related to the area in which the mural is placed, as well as articles that reflect global concerns. “The invisibilization and invalidation of youth as an active element that should be part of society is a burden that continues to be perpetuated,” the duo explains in a statement covering “Eulalia,” a previous mural completed in 2023.

      An example of this is prevalent in “Bruit,” taking the form of stage design for an immersive concert. In the piece, a young girl protectively wraps her arms around a fishbowl, nodding to the impact of sound pollution within the oceans.

      The pair recently completed an exhibit at the Museu Picasso in Barcelona and plans to continue their artistic endeavors both in and out of the public space. Find more work on Reskate’s website and Instagram, and browse prints in their online shop.

      “Harmony” (2025). Liverpool. Image by Corbyn John

      “Transformateur” (2024). Mareuil-sur-Ourcq, France. Image by Sophie Palmier

      Detail of “Transformateur” (2024). Mareuil-sur-Ourcq, France. Image by Sophie Palmier

      “Bruit” (2024). Le Mans, France

      Detail of “Bruit” (2024). Le Mans, France

      “Boycott” (2024). Ghent, Belgium

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      in Street Art

      In Miami, Wynwood Walls Museum Evolves Along With Street Art

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      Jessica Goldman Srebnick, the museum’s curator and the daughter of its creator, Tony Goldman, discussed her role and her vision for the neighborhood’s artistic future.This article is part of our Museums special section about how artists and institutions are adapting to changing times.The real estate developer Tony Goldman was no stranger to transforming neighborhoods when he established the outdoor street art museum Wynwood Walls in Miami in 2009. Located in Wynwood, formerly an industrial district of warehouses and garment manufacturing factories, the museum was his way of revitalizing a city pocket that had declined in the 1980s and had since sat virtually abandoned and forgotten.Goldman, who died in 2012, was known for breathing new life into Manhattan’s SoHo neighborhood by investing in real estate and turning it into a destination for artists and the fashionable set. He saw the same potential with Wynwood, according to his daughter, Jessica Goldman Srebnick, a co-chair of the real estate development company Goldman Properties and the museum’s curator.“My dad, Joey, and I were together when we first visited Wynwood in 2005,” she said, referring to her brother. “Block after block of single-story industrial buildings — mostly vacant or abandoned — served as canvases for a sea of chaotic graffiti, but my dad recognized the opportunity to build upon the DNA of the neighborhood and enhance it for others to enjoy.”Jessica Goldman Srebnick, the museum’s curator, earlier this month. She scouts for new muralists every year.Alfonso Duran for The New York TimesGoldman Srebnick said that her father saw the advantages of Wynwood’s central location, the walkability of its streets, the mass of underutilized buildings and its grittiness — all factors he used to breathe new life into SoHo, South Beach in Miami and Midtown Village in Philadelphia.“To him, it was clear that Wynwood would become the center for the creative class, with the Wynwood Walls Museum as its vibrant, beating heart,” she said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Art

      Monumental Murals by Agostino Iacurci Vibrantly Reimagine Urban Facades

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      “Cardi (1571-2021)” (2021), wall painting, dimensions variable. Borgo Universo, Aielli. Photo by Domenico d’Alessandro

      Monumental Murals by Agostino Iacurci Vibrantly Reimagine Urban Facades

      April 21, 2025

      ArtDesign

      Kate Mothes

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      Murals by Agostino Iacurci bring drab buildings to life in bold jewel tones, playful patterns, color blocks, and symmetry. Whether painting directly onto bricks and plaster or designing immense fabric sheaths to cover construction scaffolding, the artist’s vibrant compositions enliven street corners and urban thoroughfares.

      Iacurci often emphasizes geometric patterns, flora, classical vases, and niches that hold symbolic objects or figures. You might enjoy checking out Gingko Press’s Mural Masters, a survey of the next generation of street artists, and see more on Iacurci’s website and Instagram.

      “Landscape n.1” (2021), wall painting, 27.7 x 7.1 meters. Las Vegas, Nevada. Commissioned by Life is Beautiful

      “Disegno d’esame” (2021), enamel on wall, dimensions variable. Pascucci Elementary School, Santarcangelo di Romagna. Photo by Francesco Marini

      “Grüne Oase” (2024). Frankfurt am Main, Germany. Photo by Ivan Murzin

      “COINCIDENCES.” Ensorinstituut, Oostende, Belgium. Produced by The Crystal Ship

      Detail of “COINCIDENCES”

      “Landscape n.2” (2021), print on PVC scaffold sheet, 17 x 14 meters. Pastificio Cerere, Rome. Photo by Carlo Romano

      “Landscape n.3” (2021). Pinacoteca Civica, Foggia. Photo by Domenico d’Alessandro

      “L’antiporta” (2021), paint on wall, dimensions variable. Biblioteca Ugo Tognazzi, Pomezia. Curated by Marcello Smarrelli and Pastificio Cerere for Sol Indiges. Photo by Lorenzo Palmieri

      Detail of “L’antiporta”

      Detail of “Cardi (1571-2021).” Photo by Domenico d’Alessandro

      Detail of “Disegno d’esame.” Photo by Domenico d’Alessandro

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