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Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane
by Aurelia Butler 11 August 2025, 13:59
“Dear Moments” (2025), acrylic gouache on canvas, 51 1/4 x 114 1/2 inches. All images courtesy of Hashimoto Contemporary, shared with permission
Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane
August 11, 2025
Art
Grace Ebert
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For Danym Kwon, the concept of home is mutable. The artist (previously) recently relocated to San Jose from her native Seoul, having spent just a few years back in South Korea before realizing that she longed to return to the Bay Area where she lived while her children were young.
“I may never have had a place to stay forever. But wherever we were together became a home,” Kwon says about her move and the paintings and sculptures that emerged from the experience. “These works are my way of holding onto that—of cherishing the moments that pass too quickly.”
“A Message of Comfort” (2025), acrylic gouache on canvas in cherry wood foldable frame, 22 1/8 x 33 1/2 x 1 1/8 inches
On view at Hashimoto Contemporary in New York, Dear Moments presents Kwon’s tender, pastel-hued recollections of family life. Tucked within her signature stacks of laundry are small vignettes of siblings digging in the sand at the beach, a couple wandering through an art museum, and a parent snuggled up in bed with their child and a book. The artist’s vessels are similar, depicting a woman strolling along a candy-colored path or a young boy playing with blocks and a toy car.
Having worked largely on canvas, she ventures into birch sculpture for this exhibition, plucking the doting characters common within her paintings and presenting them in three dimensions.
Seemingly mundane, these familial scenes become magical and revered in Kwon’s hands. She beckons viewers into a world where even chores like folding clean clothes offer space for reflection and calm. While we might not treasure such simple moments in the present, Kwon suggests, we should hang on dearly to the small embraces and quiet acts of togetherness that ultimately make us feel at home.
Dear Moments is on view through August 30. Find more from Kwon on her website and Instagram.
“Looking together” (2025), acrylic gouache on birch plywood, 9 1/4 x 7 1/4 x 1 1/8 inches
“A Still Life of You” (2025), acrylic gouache on canvas, 35 3/4 x 28 5/8 inches
“Sand, Stories and a Small House” (2025), acrylic gouache on canvas, 17 7/8 x 17 7/8 inches
“Sunday” (2025), acrylic gouache on birch plywood, 12 1/2 x 21 3/4 x 1 1/8 inches
“My Favorite Path” (2024), acrylic gouache on canvas, 35 3/4 x 28 5/8 inches
“Little Reader’s Nest” (2025), acrylic gouache on paper in cherry wood frame, 8 1/2 x 8 1/2 x 1 1/2 inches
Detail of “Dear Moments” (2025), acrylic gouache on canvas, 51 1/4 x 114 1/2 inches
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Experimenting with Color and Reflection, Kenny Harris Brews Beautiful Still Lifes
by Aurelia Butler 8 August 2025, 16:39
All images © Kenny Harris, shared with permission
Experimenting with Color and Reflection, Kenny Harris Brews Beautiful Still Lifes
August 8, 2025
ArtDesignFood
Kate Mothes
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In 1933, Alfonso Bialetti and his son Renato began to market an aluminum contraption for brewing coffee that would make an indelible mark on Italian culinary culture and beyond. Called a moka pot after the Yemeni city of Mokha, the appliance is still manufactured today by the coffee equipment company Bialetti under the name Moka Express, providing a steam-powered, filterless way to make a rich brew on the stovetop.
For Venice, California-based artist Kenny Harris, the metallic, faceted surface of the iconic maker inspires an ongoing series of lovely still-life oil paintings. Exploring color and form, the artist focuses on reflections and their effects. Delicate gradients and patterns are mirrored across the pot’s surface, sometimes blurring the boundary between the object and its surroundings.
“I find delight in searching for harmonies, lost edges, and texture variation,” the artist says. “In the end, these are color experimentations in the tradition of Joseph Albers or Albert Moore: reiteration of the same forms with different color combinations. Also, I love coffee.”
A solo show of Harris’s work titled Passage opens on September 6 at Galerie Mokum in Amsterdam, and he’s currently working toward another show in early 2026 at Billis Williams Gallery in Los Angeles. Explore more work on the artist’s website and Instagram.
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Isabella Mellado Summons Sins and Desire in Her Tarot-Inspired Paintings
by Aurelia Butler 7 August 2025, 12:42
“Pride (Temperance).” All images courtesy of the artist and Povos, shared with permission
Isabella Mellado Summons Sins and Desire in Her Tarot-Inspired Paintings
August 7, 2025
Art
Grace Ebert
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What does it mean to sin? In mystical paintings in oil, Isabella Mellado diverges from the Catholic guilt she knows all too well to instead bask in desire and the beauty of transgressions.
The Chicago-based, Puerto Rico-born artist is known for her magical realist works that draw on tarot and the occult to explore queer identities and Latinidad. Mellado’s most recent exhibition, 7 Pecados, presented a collection of vivid paintings that, like much of her practice, reject Christian strictures. Rather, the artist questions how we might see laziness, gluttony, and lust not as wrongs to be avoided but as empowering and essential to our humanity.
“Sloth”
Mellado often begins a piece by staging a photo. She and her accomplices don witchy garments and commune in bodies of water or around fires, their hands occupied with a deck of cards or a chalice. These images serve as the basis for her large-scale paintings, which render the already magical scenes in a dreamy, even mysterious light.
Whereas Western religions like Christianity have left little room for identities and behaviors that don’t conform to their beliefs, Mellado beckons us into an alternative space where figures are free to revel in pleasure. The characters take on the role of witches and conjurers, those who remain anonymous behind their disguises yet engage resolutely in their own empowerment.
Mellado’s previous projects include Te Dire Quien Eres, an exhibition at Povos in Chicago that took its central premise from a line in Miguel Cervantes’s Don Quijote de la Mancha: “Tell me who you surround yourself with, and I’ll tell you who you are.” The paintings reject shame around queerness and what’s often considered monstrous, instead honing in on the intimate relationships that inform one’s life and the sacred spaces offered by a coven.
Find more from Mellado, including the original photos and resulting paintings, on her website and Instagram.
“Lust (The Lovers)”
“The High Priestess’
“Two of Wands”
“Three of Cups”
“The Magician”
“Gluttony (The Emperor Midas)”
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In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale
by Aurelia Butler 5 August 2025, 18:20
Lorraine Loots, “Pasta Amatriciana.” All images courtesy of the artists and Paradigm Gallery + Studio, shared with permission
In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale
August 5, 2025
Art
Kate Mothes
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From Manhattan to San Diego to Cleveland, neighborhoods known for their Italian-American populations have endearingly been called Little Italy, where facets of the Mediterranean nation’s culture and cuisine are preserved and celebrated. For artists Lorraine Loots and Dina Brodsky, who both create work on a very small scale, a trip to Italy and a collaborative body of work proved to be a wonderful way to explore this theme quite literally.
Little Italy, Brodsky and Loots’ duo exhibition on view now at Paradigm Gallery + Studio, chronicles the artists’ trip to the country through itty bitty paintings. Loots works in watercolor, while Brodsky composes in oil, and each draws upon the landscapes, architecture, food, and cultural icons—think Vespas, pizza, spritzes, and the Colosseum—that we associate with La Dolce Vita. Framed, Loots’ works are only five inches across, while Brodsky’s tiny tondos encapsulate vast landscapes within a three-inch diameter surface.
Dina Brodsky, “Florence, Ponte Vecchio”
Brodsky and Loots—based in Massachusetts and South Africa, respectively—first connected during the pandemic, inspired by each other’s interest in working in a tiny format. During the trip, they each experienced the place through their unique lens, tapping into memories and associations. Brodsky, who was born in Belarus and whose family traveled as refugees from the Soviet Union to the U.S. in the 1980s, spent a brief period in Italy during this relocation. The nation’s bucolic countryside and ancient architecture stuck with her over time.
Loots was long fascinated by Italy’s architectural and cultural heritage, and during the trip, she wandered the cobbled streets and plazas with two heirloom film cameras, snapping photos which she then developed once she returned home and used as reference for tiny watercolor paintings.
In Little Italy, some of Loots’ photographs, along with some of Brodsky’s sketchbooks, illustrate the two artists’ approaches to recording their experiences. The exhibition continues through August 24 in Philadelphia, and you can find more on the gallery’s website.
Lorraine Loots, “Vespa”
Dina Brodsky, “Bagnoregio”
Lorraine Loots, “Bialetti”
Dina Brodsky, “Rome, Golden Hour”
Lorraine Loots, “Fontana di Trevi”
Dina Brodsky, “Orvieto, Dawn”
Lorraine Loots, “Colosseo”
Dina Brodsky, “Siena, Dawn”
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Gabrielle Garland’s House Portraits Illuminate Daily Life, Individuality, and the ‘Fabric of Society’
by Aurelia Butler 31 July 2025, 19:30
“Good morning, winner. Take a deep breath. Good. You’re ready to dominate this day. —
Motivational Voice,
Booksmart (2019)” (2024), acrylic and oil on canvas, 48 x 48 inches. All images courtesy of the artist and Miles McEnery Gallery, shared with permission
Gabrielle Garland’s House Portraits Illuminate Daily Life, Individuality, and the ‘Fabric of Society’
July 31, 2025
Art
Kate Mothes
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Gabrielle Garland may not depict people in her square-format, mixed-media paintings, yet the works might as well be described as portraits. From mailboxes and landscape choices to colorful stoops and glowing interior lights, her vibrant depictions of houses seem to come alive with saturated color and almost palpable feeling.
Distorted, even cartoonish, Garland’s homes portray a range of American vernacular styles, from ranches to bungalows to Queen Annes. Often, neighborhood happenings enter the scene, like the shoulder of an adjacent house, power lines, trees, or planes flying overhead.
“Remember, you’re the one who can fill the world with sunshine. — Snow White, Snow White and the Seven Dwarfs (1937)” (2024), acrylic and oil on canvas, 36 x 36 inches
A new solo exhibition of Garland’s work opens at Miles McEnery Gallery next month, titled I’ll Get You, My Pretty, and Your Little Dog Too. Her titles typically reference quotes from films, ranging in tone and topic as much as her homes also appear to do.
“Stairs, flower boxes, and mailboxes swell or shrink disproportionately, revealing the distortions of the artist’s memory (that murky area where structural logic intermingles with emotional noise),” says a gallery statement. Whether depicted at night, during fireworks displays, in a storm, or in the blazing sun, the details of each house converge with out-of-context sentiments from movies that draw us into their unique characteristics and quirks while also affording a playful insight into the artist’s frame of mind.
Garland takes inspiration from everyday observations around her home in New York and beyond. She often works from her own photographs, sometimes using found images. “My body of work might be interpreted as an investigation of the physical fabric of society,” Garland told Dovetail. “I believe it documents the constantly shifting balance between our desire for independence and interconnection, between the comfort and familiarity we seek and the strangely disorienting spaces we create.”
I’ll Get You, My Pretty, and Your Little Dog Too opens on September 4 and continues through October 25 in New York City. Find more on Garland’s website and Instagram.
“Whoever you are, I have always depended on the kindness of strangers. —Blanche DuBois, A Streetcar Named Desire (1951)” (2025), acrylic, oil, and glitter on canvas, 48 x 48 inches
“I’m glad he’s single because I’m going to climb that like a tree. —Megan, Bridesmaids (2011)” (2024), acrylic on canvas, 48 x 48 inches
“We have enough. You can stop now. —Ava Fontaine, Lord of War (2005)” (2024), acrylic, molding paste, glitter, and oil on canvas, 48 x 48 inches
“And… and… c’mon, Nick, what do you expect? To live happily ever after? —Elizabeth James, The Parent Trap (1998)” (2024), acrylic, oil, and glitter on canvas, 48 x 48 inches
“I don’t bite, you know… unless it’s called for. —Regina Lampert, Charade (1963)” (2024), acrylic on canvas, 48 x 48 inches
“I’m scared. —Christine, Before I Go to Sleep (2014)” (2025), acrylic and glitter on canvas, 36 x 36 inches
“That is why every day we pray for rain. —Daena, Planet of the Apes (2001)” (2024), acrylic and glitter on canvas, 36 x 36 inches
“It’s just, living alone, you know? And, the thought of buying those books like Cooking For One, and… it’s just too depressing. —Allison Jones, Single White Female (1992)” (2024), acrylic on canvas, 48 x 48 inches
“I guess it feels different when it’s someone you love —Cassandra, Promising Young Woman (2020)” (2025), acrylic on canvas, 36 x 36 inches
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Lisa Congdon Translates the Healing Power of Making from Collage to Painting
by Aurelia Butler 31 July 2025, 17:58
“Otherwise,” acrylic on wood panel framed in hemlock, 18 × 24 inches. All images courtesy of Chefas Projects, shared with permission
Lisa Congdon Translates the Healing Power of Making from Collage to Painting
July 31, 2025
Art
Grace Ebert
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Late last year, as she was recovering from two knee replacements, Lisa Congdon (previously) was unable to commute to her Portland studio. Typically an avid biker, the artist found the recovery process difficult both physically and emotionally, and she began to work in a sketchbook as a way to cope and create while home. Images cut and collaged with paper filled the pages and soon became the basis for a new body of work.
The Way Through, on view at Chefas Projects, presents 40 paintings that emerge from this period. Translating the distinctive scissor cuts to wood panel, Congdon captures the irregularities of the original paper pieces. “Ultimately, I recognized that the collection of collages was a sort of magic and decided to see what new work could be created based on their wonky, improvisational, pure form,” she says.
“Tangerines,” acrylic on wood framed in hemlock, 12 × 9 inches
The result is a collection of vibrant works that often feature singular objects: a blue bowl of tangerines, for example, or a thumbtack and bottle of Elmer’s glue. In each piece, Congdon transforms the mundane into a bright, colorful object of reverence and play.
In addition to the paintings, The Way Through includes a collection of limited-edition serigraphs with the artist’s signature bold style and affirmations. If you’re in Portland, stop by to see the exhibition through August 16.
“Outre,” acrylic on wood panel framed in hemlock, 24 × 18 inches
Installation view of ‘The Way Through’
Installation view of ‘The Way Through’
“Souvenirs,” acrylic on wood framed in hemlock, 20 × 16 inches
Installation view of ‘The Way Through’
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More than 70 Iconic Works by Kerry James Marshall Shape a Major Survey in the U.K.
by Aurelia Butler 31 July 2025, 14:36
“Untitled” (2009), acrylic on PVC panel, 155.3 x 185.1 centimeters. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979. © Kerry James Marshall. ‘Kerry James Marshall: The Histories’ is organized by the Royal Academy of Arts, London, in collaboration with the Kunsthaus Zürich and the Musée d’Art Moderne, Paris. All images courtesy of the Royal Academy of Arts, shared with permission
More than 70 Iconic Works by Kerry James Marshall Shape a Major Survey in the U.K.
July 31, 2025
ArtSocial Issues
Kate Mothes
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Drawing upon art historical sources, contemporary culture, and comics, Kerry James Marshall vibrant paintings boldly challenge the past. Through often monumental portraits of Black figures, the Chicago-based artist (previously) delves into themes of race, identity, legacy, and representation to bridge history and the present and imagine a better future.
In the largest survey of the artist’s work ever presented outside of the U.S., the Royal Academy of Arts hosts Kerry James Marshall: The Histories. Organized in collaboration with Kunsthaus Zurich and the Musée d’Art Moderne, Paris, the exhibition opens next month and features more than 70 works that span the artist’s career thus far. The show also includes a monumental oil painting commissioned for the Chicago Public Library titled “Knowledge and Wonder,” which is on loan for the first time.
“School of Beauty, School of Culture” (2012), acrylic and glitter on unstretched canvas, 274.3 x 401.3 centimeters. Collection of the Birmingham Museum of Art, Alabama; Museum purchase with funds provided by Elizabeth (Bibby) Smith, the Collectors Circle for Contemporary Art, Jane Comer, the Sankofa Society, and general acquisition funds, 2012.57. Photo by Sean Pathasema. © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York
The Histories is organized into 11 groups of works made between 1980 and the present, inviting viewers through a thematic and stylistic journey. The exhibition opens with “The Academy,” painted in 2012. A male model in a life drawing class stands in front of a patterned backdrop and looks directly at the viewer, giving the iconic raised fist of the Black Power movement.
Marshall has long been guided by his early encounters with European art in museums and books, where he recognized a stark lack of Black figures. By the 1980s, he focused on the idea of visibility, creating the seminal piece “A Portrait of the Artist as a Shadow of His Former Self,” which emphasizes his interest in confronting stereotypes.
Typically working in series or cycles, Marshall often touches upon epochal social and political paradigms of the past, like slavery and the Middle Passage, Black Power and the Civil Rights movement, and the historical omission of people of color from Western painting traditions. His works often highlight daily African American experience and elevate everyday activities and interactions, like gathering at the barber shop, making a painting, relaxing at the park, or hanging out on the porch. Marshall posits that the past can be a tool with which to hew the future.
Kerry James Marshall: The Histories opens on September 20 and continues through January 18 in London. Plan your visit on the RA’s website.
“The Academy” (2012), acrylic on PVC, 182.9 x 154.9 centimeters. Collection of Dr. Daniel S. Berger, © Kerry James Marshall. Image courtesy of the artist and Jack Shainman Gallery, New York
“Knowledge and Wonder” (1995), oil on canvas, 294.6 x 698.5 centimeters. City of Chicago Public Art Program and the Chicago Public Library, Legler Regional Library, © Kerry James Marshall. Photo by Patrick L. Pyszka, City of Chicago
“Vignette #13” (2008), acrylic on PVC panel, 182.9 x 152.4 centimeters. Susan Manilow Collection. © Kerry James Marshall. Image courtesy of the artist and Jack Shainman Gallery, New York
“Untitled (Policeman)” (2015), acrylic on PVC panel with plexiglass frame, 152.4 x 152.4 centimeters. The Museum of Modern Art, New York, gift of Mimi Haas in honor of Marie-Josée Kravis, 2016. © Kerry James Marshall. Photo courtesy of The Museum of Modern Art, New York/Scala, Florence
“Untitled (Porch Deck)” (2014), acrylic on PVC panel, 180.3 x 149.9 centimeters. Kravis Collection, © Kerry James Marshall. Image courtesy of the artist and David Zwirner, London
“De Style” (1993), acrylic and collage on canvas, 264.2 x 309.9 centimeters. Los Angeles County Museum of Art, purchased with funds provided by Ruth and Jacob Bloom. © Kerry James Marshall. Photo: © Museum Associates/LACMA
“Untitled (Blanket Couple)” (2014), acrylic on PVC panel, in artist’s frame, 150.2 x 242.5 centimeters. Fredriksen Family Art Collection, © Kerry James Marshall. Image courtesy of the artist and David Zwirner, London
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Cosemtics and Cosmos Blend in Circe Irasema’s Wooden Sculptures
by Aurelia Butler 25 July 2025, 14:45
‘Hecha a mano’ (2024). All photos by Ramiro Chávez, courtesy of Proyectos Monclova, shared with permission
Cosemtics and Cosmos Blend in Circe Irasema’s Wooden Sculptures
July 25, 2025
Art
Grace Ebert
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“For me, painting is a question about time,” says Circe Irasema. The artist, who lives and works in Mexico City, thinks deeply about the dominance of the male gaze in Western art history and how that authority influences the technical and material qualities of the works themselves. Preserving a piece made in this tradition, her work acknowledges, necessarily means preserving all that it represents.
As a contrast, the artist has turned to an unconventional feminized medium. Using colorful eyeshadow cakes, powder blushes, and long acrylic nails, Irasema creates “an alternative version of the history of painting. A history that tells intimate or hidden stories about the body, the feminine, the performative, metamorphosis, the fragility and transience of life, the domestic, the gaze, and beauty.”
“Los brazos de Morfeo (from ‘Cosmic Garden’ series)” (2025), gouache, acrylic, and polished artificial nails on an anatomical wooden mannequin, two pieces of 80 x 20 x 8 centimeters each
Combining comestics and adornments with more common materials like gouache and acrylic paint, Irasema creates vibrant anatomical models and more abstract wooden works embedded with eyeshadows. Appearing as paintings from a distance, these mixed-media works meld a traditional art form with a longstanding mode of self-expression and beautification.
Given the delicate nature of powder compacts—a reality for anyone who’s dropped an eyeshadow palette and watched it shatter—the fragile material requires a level of care that becomes symbolic for the artist. “It stems from a popular understanding that relates to the everyday, distances itself from academia, and maintains a connection with sentimental education,” she adds. Where expression through high art has long been privileged, makeup and fashion have historically been read as shallow and even frivolous, a conception Irasema handily rejects.
Many of the works shown here are part of a series titled Cosmic Painting, a nod to the shared etymological root of the terms cosmetics and cosmos. Translating to “order,” “the word is understood as something harmonious and beautiful,” the artist adds. “This Greek meaning represents and is the basis of the canon of beauty that emerges from geometry, the cornerstone of painting since the Renaissance. This work attempts to use these same premises to reconfigure this pictorial notion with the compact powder of makeup.”
Irasema is currently preparing for a solo exhibition at Carrillo Gil Art Museum and creating works for Art Basel Miami. Follow her practice on Instagram.
“Pintar II” (2024), gouache, acrylic, and polished artificial nails on an anatomical wooden mannequin, 27 x 8 x 8 centimeters
‘Hecha a mano’ (2024)
“Cartografía de formas simples” (2024), eyeshadow palettes on 17 plywood assemblages, 122 x 244 x 4 centimeters
“Flor estrella (from ‘Cosmic Garden’ series) (open)” (2024), gouache and eyeshadows inlays on veneered wood, 6 x 40 x 40 centimeters
Installation view at Proyectos Monclova, Mexico City (2024)
Detail of “Arcoiris (from ‘Cosmic Garden’ series)” (2024), eyeshadow palettes on tropical wood assemblage
Installation view at Proyectos Monclova, Mexico City (2024)
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painting

More stories

Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane

Experimenting with Color and Reflection, Kenny Harris Brews Beautiful Still Lifes

Isabella Mellado Summons Sins and Desire in Her Tarot-Inspired Paintings

In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale

Gabrielle Garland’s House Portraits Illuminate Daily Life, Individuality, and the ‘Fabric of Society’

Lisa Congdon Translates the Healing Power of Making from Collage to Painting

Cosemtics and Cosmos Blend in Circe Irasema’s Wooden Sculptures

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