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    In Rural Wisconsin, Pat Perry Connects the Various Forces That Shape Our World

    “27 Schoolteachers and a Volcano.” All images courtesy of Pat Perry, shared with permission

    In Rural Wisconsin, Pat Perry Connects the Various Forces That Shape Our World

    September 9, 2025

    Art

    Grace Ebert

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    In a rural Wisconsin city of just more than 1,200 people, the hyperlocal and the universal converge in a new mural by Pat Perry (previously). “27 Schoolteachers and a Volcano” is just as its title suggests: the large-scale piece depicts snow-capped mountains with an explosive volcano at its center, while small portraits of local educators line the top and bottom borders.

    Commissioned by Princeton Art Collective, the mural captures the vertiginous experience of life today, particularly as we consume more information than ever before and must confront seemingly endless disasters and devastations around the globe. Perry wanted to highlight how we can “find meaning in ordinary life while constantly witnessing things happening in the world beyond your control.”

    “Even in a small rural town, you’re not insulated from the immense forces that shape the world. History happens. Economies rise and fall. Wars begin. Continents drift and mountains erode. One day, the sun will expand and swallow the Earth. Most of us don’t get much of a say in any of it,” he says.

    To conceptualize the work, the collective helped to contact and secure permissions from the teachers pictured, and with the exception of the woman in the red floral garment at the bottom of the piece—she’s the artist’s mother and a retired educator—all work in the area. And why teachers? Perry explains:

    Day after day, people find purpose. They wake up early, show up with intention, and try to make sense of things—not just for themselves, but also for others. Teachers do this every day. Not for recognition, and rarely for much pay. It’s a repetitive act of maintenance that holds things together.Choosing to shoulder that task, even while standing at the edge of something vast and indifferent, is a quiet act of defiance. Amidst overwhelmingness and uncontrollableness and unanswerableness, teachers—and all custodians of human affairs—keep meaning in the world by steadily and stubbornly tending to it.

    “27 Schoolteachers and a Volcano” is located in Princeton, Wisconsin. Find more from Perry on his website and Instagram.

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    Banksy’s Already Covered Painting in London Comments on the U.K.’s Palestine Action Crackdown

    Banksy’s painting at Royal Courts of Justice, London, © Banksy 2025

    Banksy’s Already Covered Painting in London Comments on the U.K.’s Palestine Action Crackdown

    September 8, 2025

    ArtSocial Issues

    Kate Mothes

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    On a wall outside the Royal Courts of Justice in Westminster, London, a new piece by Banksy appeared this morning before being covered up within hours. The short-lived artwork, which the artist shared on Instagram and the front page of his website, depicts a judge in traditional robes and a large wig beating a protester with a gavel as blood spatters across the demonstrator’s placard.

    The piece by the anonymous artist is likely a response to the arrests of nearly 900 protestors during a rally against the ban on Palestine Action, a group that Britain has declared a terrorist organization. Membership in the group is considered a crime, which can be punished by up to 14 years in prison. Even though organizers insist the demonstration of around 1,500 was peaceful, The Met nevertheless arrested more than half of the attendees.

    Banksy is known for his statements about current affairs and socio-political issues around the world. He’s famous for stealthily targeting charged sites, like destroyed buildings in Ukraine or a small town in Wales that the World Health Organization for a short time deemed the most-polluted community in the U.K. His striking and subversive imagery is sometimes humorous, ironic, or tongue-in-cheek, always taking a direct and purely visual approach in his critique of contemporary issues.

    “What makes this work remarkable is not just its imagery, but its placement,” says Jasper Tordoff, a Banksy expert at MyArtBroker, on Artnet. “By choosing the Royal Courts of Justice, Banksy transforms a historic symbol of authority into a platform for debate. In classic Banksy form, he uses the building itself to sharpen the message, turning its weight and history into part of the artwork.”

    Follow the artist’s updates on Instagram.

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    Janet Echelman’s Suspended Nets Radiate Across 25 Years in ‘Radical Softness’

    All images courtesy of Princeton Architectural Press, shared with permission

    Janet Echelman’s Suspended Nets Radiate Across 25 Years in ‘Radical Softness’

    August 28, 2025

    ArtBooks

    Grace Ebert

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    For two and a half decades and across five continents, Janet Echelman (previously) has established spaces for gathering, although her approach emerges from an unusual angle. The artist is known for suspending enormous nets from ceilings and outdoor structures, which often cast colorful shadows or glowing light onto their surroundings. Swaying with gusts of wind, the architectural installations invite viewers to pause and meditate on interconnectedness.

    Now, the artist’s works are collected in a monograph titled Radical Softness: The Responsive Art of Janet Echelman. Published by Princeton Architectural Press and edited by Gloria Sutton, the tome chronicles Echelman’s evolution while situating her practice within contexts of art history, engineering, climate activism, and more. As this list suggests, her reach is broad, and each piece tethers larger systems to which we’re all bound, whether political and ecological or aesthetic.

    “The way that my art finds power is through its resiliency and adaptability rather than brute strength, because it lets the wind move through it rather than fighting it. I think that’s a metaphor for how to live in these times,” Echelman says in the introduction.

    Containing sketches, diagrams, and photos documenting both the process and final works, the book offers a broad look at the artist’s practice. It also contains interviews and essays from art historians, curators, engineers, thinkers, and more, entwining Echelman’s projects within a vast ecosystem.

    Radical Softness will be released on September 16 and is available for pre-order in the Colossal Shop.

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    Six Acclaimed Artists Interpret Ecology and the Landscape for ‘Ground/work 2025’

    Hugh Hayden, “The End.” Photo by Thomas Clark. All images courtesy of the artists and The Clark Institute, Williamstown, Massachusetts, shared with permission

    Six Acclaimed Artists Interpret Ecology and the Landscape for ‘Ground/work 2025’

    August 21, 2025

    ArtNature

    Kate Mothes

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    Across the expansive 140-acre grounds of The Clark Institute in Williamstown, Massachusetts, six contemporary artists have been invited to create site-specific works engaging with the property’s meadows, trails, and woods, while highlighting their individual practices.

    Sculptures by Yō Akiyama, Laura Ellen Bacon, Aboubakar Fofana, Hugh Hayden, Milena Naef, and Javier Senosiain dot a variety of sites, from manicured parkland to open fields to groves of trees.

    Laura Ellen Bacon, “Gathering My Thoughts.” Photo by Joe Aidonidis

    Bacon, whose ethereal sculptures made of malleable twigs seem to move, has installed the nine-by-five-foot “Gathering My Thoughts” in a wooded area. Made from willow sourced from Ohio, the piece appears to writhe like a living, growing form.

    Hayden has constructed a larger-than-life ribcage—species unknown—made of locally sourced hemlock punctuated by dozens of branches that poke out in every direction. Partly camouflaged amid the trees, the work invites us to consider themes of ecological vulnerability, extinction, and the climate crisis. Following the exhibition, the piece will be allowed to decompose on-site, mirroring the way animal remains also eventually vanish back into the earth.

    Fofana’s installation of two botanical forms, titled “Bana Yiriw ni Shi Folow (Trees and Seeds of Life),” is the artist’s first public art piece. He draws upon his spiritual belief in the divinity of nature, incorporating rolls of African cotton dyed with indigo, representing seeds, into a curling metal frame.

    Other works include Senosiain’s vibrant sea creature, installed in a pond, along with Akiyama’s conical monolith evocative of scorched wood and Naef’s marble slabs that merge with the negative spaces of a fallen tree.

    Aboubakar Fofana, “Bana Yiriw ni Shi Folow (Trees and Seeds of Life).” Photo by Thomas Clark

    Curated by independent scholar Glenn Adamson, the exhibition provides the opportunity to experience contemporary art in a natural setting. Olivier Meslay, Hardymon Director of the Clark Art Institute, says:

    The Clark’s campus becomes an accomplice, of sorts, in helping us to see and appreciate each artist’s particular vision and the interconnection between art and nature. With this edition of Ground/work, our guest curator…has intentionally blurred the line that traditionally separates the consideration of art and craft, urging us to appreciate the art that is inherent in all forms of craft.

    Ground/work 2025 continues through October 2026, with free access day or night, 24/7, on The Clark’s campus. Plan your visit on the museum’s website.

    Hugh Hayden, “The End” (detail)

    Javier Senosiain, “Coata III.” Photo by Thomas Clark

    Yō Akiyama, “Oscillation: Vertical Garden.” Courtesy of the artist and Joan B Mirviss LTD. Photo by Thomas Clark

    Laura Ellen Bacon, “Gathering My Thoughts” (detail). Photo by Joe Aidonidis

    Aboubakar Fofana, “Bana Yiriw ni Shi Folow (Trees and Seeds of Life)” (detail). Photo by Thomas Clark

    Milena Naef, “Three Times Spannin.” Photo by Thomas Clark

    Yō Akiyama, “Oscillation: Vertical Garden” (detail). Courtesy of the artist and Joan B Mirviss LTD. Photo by Thomas Clark

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    A Glowing Inflatable Canyon by ENESS Squeezes Inside Melbourne’s Prahran Square

    All images courtesy of ENESS, shared with permission

    A Glowing Inflatable Canyon by ENESS Squeezes Inside Melbourne’s Prahran Square

    August 15, 2025

    Art

    Grace Ebert

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    Although it appears that thousands of tons of boulders have been dropped into Prahran Square in Melbourne, the enormous rocks are actually as light as air. Art and technology studio ENESS (previously) has installed its inflatable “Iwagumi Air Scape” in the park, creating an immersive canyon for visitors to wander through.

    While the 16 massive stones have a grainy, granite-like texture during the day, at night, they glow in otherworldly pinks and yellows, creating a surreal landscape that illuminates the urban environment. Audio of flora and fauna accompanies the work, so that when viewers squeeze through what would be a treacherous pass between real boulders, the soft inflatables and mountain sounds wrap them in a natural embrace.

    The outdoor installation is on view through August 17, when it will travel to additional locations. Keep up with its stops on ENESS’s Instagram.

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    An Inflatable Building Recreates the Iconic Mecca Flats at the Heart of Chicago’s Black Renaissance

    All images courtesy of Floating Museum, shared with permission

    An Inflatable Building Recreates the Iconic Mecca Flats at the Heart of Chicago’s Black Renaissance

    August 12, 2025

    ArtDesignHistory

    Grace Ebert

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    As the World’s Fair loomed on Chicago’s horizon, architects Willoughby J. Edbrooke and Franklin Pierce Burnham built a 98-unit hotel to house visitors. After the exposition was finished, the Romanesque Revival building with a large central courtyard was converted into apartments and became known as Mecca Flats.

    Chicago adhered to strict segregation codes in the 19th century, and Mecca Flats, located in the Bronzeville neighborhood at 3360 S. State Street, wasn’t immune. The complex originally only allowed white residents, before allowing Black residents in 1911. Quickly, the building became a site for creatives well-known in the Black Renaissance. Gwendolyn Brooks famously titled a book after the tenement, and luminaries Muddy Waters and Katherine Dunham called Mecca Flats home.

    View of the indoor atrium at the Mecca Flats, East 34th and South State Street, Chicago, Illinois.

    Although a historical beacon of Black creativity, the Illinois Institute of Technology razed the building in 1952. It was replaced by the Mies van der Rohe-designed S.R. Crown Hall.

    While Mecca Flats are long gone, its memory lives on throughout Chicago, and thanks to the collective known as Floating Museum, a new artwork revives the cultural hub. “for Mecca” is a large-scale inflatable structure recreating the once-thriving complex in grayscale polyester. Scaled down, this iteration stretches 41 feet long, with a U-shaped passageway for viewers to walk through.

    Floating Museum is co-directed by avery r. young, Andrew Schachman, Faheem Majeed, and Jeremiah Hulsebos-Spofford, who share that the project offers a “tangible artifact” of Chicago’s lost history. They say:

    “for Mecca” represents our collective interest in Bronzeville’s complex history. We can no longer view nostalgic images of Mies van der Rohe—enjoying a cigar in the emptiness of S.R. Crown Hall—without also imagining Mecca Flats, collapsed under his feet, and recalling the slow strategic displacement of the African American community signified by the presence of its absence.

    The project also includes several nods to former South Side institutions, including the jazz dancehall Savoy Ballroom and the Regal Theatre, a popular night club and performance venue.

    Debuting this past weekend at the original site, the project will travel around the city’s parks through the summer of 2026. “for Mecca” is the latest project in the collective’s Floating Monuments series, which seeks to uncover critical cultural and historical legacies within Chicago through public installations.

    Find more from Floating Museum on its website.

    The Stroll, Regal Theater, and the Savoy Ballroom, Chicago, 1941. Photo by Russell Lee. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives.

    Savoy Ballroom, 47th Street and South Parkway, Chicago, 1929. Curt Teich Postcard Archives Digital Collection, Newberry Library.

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    Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings

    “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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    An Ornate Stenciled Rug by Mateo Complements a Cultural Center’s Communal Rooftop in Dakar

    All images courtesy of Mateo, shared with permission

    An Ornate Stenciled Rug by Mateo Complements a Cultural Center’s Communal Rooftop in Dakar

    August 1, 2025

    Art

    Kate Mothes

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    On the rooftop of TRAMES, an artistic and cultural center in Dakar, Senegal, a vibrant new installation by Mateo creates a welcoming atmosphere above the hustle and bustle of the city. Using paint and stencils, the artist incorporated motifs familiar in Senegal culture, like traditional wrestling, bird tracks, fish, and wax fabrics.

    Mateo was also inspired by teraanga, a word in the Wolof language that loosely translates to “hospitality” but is also characterized by a much more holistic philosophy of generosity and acceptance. For hundreds of years, teraanga has shaped communities’ openness and exchange with one another, continuing today as an integral and defining facet of the Senegalese way of life.

    Mateo was invited to TRAMES for a residency, where he initially planned to paint a mural. But he was inspired by the communal rooftop space of the center and conceived instead of a large patterned carpet that evokes the teraanga ethos and celebrates Senegalese culture.

    “Rather than painting a wall, I chose to work on the rooftop terrace, a vibrant space used for gatherings, celebrations, and dance rituals,” the artist says. Painting on the carpet directly onto the ground facilitated, he adds, “a symbolic, open-air space for connection and ritual.”

    Find more on the artist’s website and Instagram.

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