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      Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences

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      “Byzantine.” Photos by Shannon Toft. All images courtesy of Frances Priest, shared with permission

      Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences

      July 3, 2025

      ArtCraft

      Kate Mothes

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      In vibrant effusions of color, Frances Priest creates ceramic vessels, tiles, and sculptural forms that explore the possibilities of pattern. The Edinburgh-based artist’s interest in decorative motifs stems from a book she received as a child, The Grammar of Ornament by Owen Jones, originally published in 1856.

      Jones compiled elaborate documentation of decorative motifs around Europe, the Middle East, and other regions represented in British museum collections of the time. An international focus has long inspired Priest, who incorporates a wide range of visual languages into her pieces.

      Jar with a chevron pattern

      Priest (previously) emphasizes geometry and color, merging ideas of precision with organic movement—some of the elements appear to be floating away or overlapping playfully with others rather than remaining in perfect alignment. She also continues the patterns across the bottoms of the pieces, emphasizing an all-around completeness.

      Recent works include a series of cylindrical vessels with lids influenced by Chinese ginger jars. The artist recently completed a large-scale tile commission for Theatre Clwyd in North Wales titled “Stellar,” and a series of encaustic floral tiles dotted the floor of a garden at London’s 2025 RHS Chelsea Flower Show.

      If you’re in Edinburgh, see Priest’s work at &Gallery in the forthcoming group exhibition Fragments, which runs from July 5 to 30. Find more on the artist’s Instagram and website, where some of the pieces shown here are available for purchase in her shop.

      Jars with (L-R) triangle, chevron, and bow patterns

      Detail of the triangle-patterned jar

      “Wait”

      Installation view of “Byzantine”

      Detail of “Byzantine”

      “Pace”

      Jar with a bow pattern

      Detail of “Byzantine”

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    • 200 Shares189 Views

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      Explore Centuries of Art History 15 Minutes at a Time in James Payne’s ‘Great Art Explained’

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      All images courtesy of Great Art Explained

      Explore Centuries of Art History 15 Minutes at a Time in James Payne’s ‘Great Art Explained’

      July 2, 2025

      ArtHistory

      Kate Mothes

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      The art world is rife with persistent myths and associations, some of which are based on socio-economic factors that have prevailed for, well, millennia. For instance, wealthy patrons have historically been among the few who benefit in a system that can be exclusive and elitist. Whether we’re talking rich ancient Romans, the Medici family in Renaissance Florence, myriad kings and queens, or today’s major art collectors, the bottom line is most often money. For many, that’s a solid barrier to entry.

      Another term that gets tossed around a lot is “gatekeeping.” Galleries, art dealers, museum curators, scholars, publishers, and so on assume roles as tastemakers and assessors, building relationships (or not) that often determine which artworks end up in public institutions, which shows receive attention, or which private collections artists’ pieces are destined to join. Gatekeeping is, by definition, the act of monitoring who “gets in,” reinforcing the notion of exclusivity. In short, it describes a multitude of potential barriers.

      So, if the art world has historically always indulged the wealthy or felt like a realm for scholars and intellectuals, how can it be made more accessible? That’s what curator, gallerist, educator, and self-described passionate art lover James Payne is up to with Great Art Explained.

      The video series began in May 2020, at the height of the pandemic, with the simple premise that great art can be “explained clearly and concisely in 15 minutes,” he says. Payne’s YouTube channel chronicles seminal artworks throughout the centuries, predominantly focusing on textbook titans of European and American art like Marcel Duchamp, Sandro Botticelli, Georgia O’Keeffe, Jackson Pollock, Johannes Vermeer, Salvador Dalí, and more.

      Distilling the stories of iconic pieces into 15-minute explanations, Payne dives into some of the most groundbreaking moments in art history. The most recent video highlights a turning point in American art through the lens of Jackson Pollock’s splatter paintings, including “Number 1, 1950 (Lavender Mist),” which the artist painted on the floor of a Long Island barn in 1950.

      Pollock’s methods, lifestyle, and views have long been polarizing, but he is most known for eschewing traditional brushwork—changing the course of art history, really—by pouring, dripping, and flinging paint onto canvas. Not only that, he removed the substrate from the wall and put it on the floor, challenging notions of formality and preciousness. There’s even a discarded cigarette and a few rogue insects permanently stuck to the surface.

      Lee Krasner, “Combat” (1965), oil on canvas, 179 x 410.4 centimeters

      “Number 1, 1950 (Lavender Mist)” and similar works made around that time amounted to an artistic breakthrough for Pollock, who has come to exemplify the myth of the lone, troubled, so-called “cowboy painter.” (He was born in Cody, Wyoming, and was known to drink to excess; he died in 1956 in an alcohol-related car crash.) This period of his practice also spurred the Abstract Expressionist movement in New York City and marked a monumental shift in our appreciation of what painting can be.

      Payne is interested in these kinds of trailblazing moments, but he emphasizes letting go of “art-speak” to bring us closer to significant works of art through a mini-documentary format. He releases a new video each month, plus an occasional sub-series called Great Art Cities that highlights a variety of destinations in collaboration with travel writer Joanne Shurvell.

      “Sometimes the artwork is a springboard for other wider issues I would like to explore, and sometimes, it is a simple exploration of techniques and meaning,” Payne says. “For me, setting the works in context helps us appreciate them more.”

      Payne’s work is supported via Patreon, and a Great Art Explained book is slated for release from Thames & Hudson later this year. And for the literary fans among us, he also runs another YouTube channel in a similar vein called Great Books Explained. (via Kottke)

      Detail of Gustav Klimt, “The Kiss” (1908-09), oil and gold leaf on canvas, 180 x 180 centimeters

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    • 150 Shares199 Views

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      Ethereal Sculptures by Karen LaMonte Link Perceptions of Beauty, Femininity, and Nature

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      “Reclining Etude” (2017), cast glass, 23.5 x 59.5 x 28.5 centimeters. Photos by Martin Polak. All images courtesy of Karen LaMonte and Pratt Munson, shared with permission

      Ethereal Sculptures by Karen LaMonte Link Perceptions of Beauty, Femininity, and Nature

      July 1, 2025

      Art

      Kate Mothes

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      In porcelain, bronze, glass, and stone, Karen LaMonte’s sculptures explore ideas around femininity and conventions of beauty throughout history. She nods to time-honored sculptural traditions with silhouettes redolent of, for example, the three marble goddesses of the Parthenon pediment that have shaped classical sculpture and exemplified ideals of beauty for millennia.

      LaMonte conceives of lounging or posing figures in her Nocturnes and Etudes series with gowns or robes that appear spectrally inhabited. “Like spoken or written language, beauty is shaped by common idioms and shared experiences that are the foundations of culture,” LaMonte says. “In this way, it is more than just a description; it is a reflection of a greater whole, a visual representation of what is valued in society.”

      “Etude 13” (2017), cast glass, 65.5 x 48.5 x 19 centimeters

      Munson Museum of Art just opened a survey of nearly 60 pieces titled Celestial Bodies: Sculpture by Karen LaMonte, exploring the artist’s use of various media. The artist juxtaposes a range of resilient, heavy-duty materials with exaggeratedly draped fabrics associated with softness and vulnerability, interrogating the intrinsic dualities between strength and fragility, visibility and absence, and solidity and transparency.

      Celestial Bodies also includes a multimedia series of scientifically accurate depictions of cumulus clouds that billow ethereally from their bases. “Clouds intrigue me because they make visible the invisible forces of the natural world,” LaMonte says.

      The more the artist explored the ripples and folds of fabric and drapery in her dress sculptures, the more she began to interpret the body as a landscape shaped and defined by the elements. LaMonte began to explore the notion of weather, and her series Weathering emerged, imbuing cloud forms with an elegant bodily quality.

      Celestial Bodies continues through December 31 in Utica, New York. Find more on LaMonte’s website and Instagram.

      Group of “Cumulus (1:8)” (2020–2023), various mediums and sizes

      “Vortex” 2009, vitreous china, 91 x 330 x 10 centimeters

      “Hanako” (2012), bronze, 122.5 x 50 x 44 centimeters

      “Reclining Lucent 3” (2022), cast glass, 51.5 x 153 x 65.5 centimeters

      “Cumulus (1:8)”

      Group of “Cumulus (1:8)”

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    • 163 Shares189 Views

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      Elodie Blanchard Revitalizes Fabric Scraps into Vivid Patchworks of Trees, Bouquets, and Goddesses

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      “Goddesses 11, 8, 9, 10.” Image © Randy Duchaine. All images courtesy of Elodie Blanchard, shared with permission

      Elodie Blanchard Revitalizes Fabric Scraps into Vivid Patchworks of Trees, Bouquets, and Goddesses

      June 30, 2025

      Art

      Grace Ebert

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      The garments we wear often hold stories about our lives. A hole in the knee of a well-loved pair of jeans recalls hours spent bent down to tend to a vegetable garden, while a greasy oil stain condemns a T-shirt once worn to a family barbeque.

      For Elodie Blanchard, textiles hold boundless narrative potential. Working with fabrics gathered from friends, stoops around her Brooklyn neighborhood, and secondhand shops, the French-American artist and designer stitches patchwork sculptures that transform materials otherwise destined for the landfill into vibrant forms. When searching for something more specific—say, Lycra, leather, or fur—the artist taps her friends in the industry and organizations like Materials for the Arts and FabScrap.

      “Forest.” Image © Randy Duchaine

      The resulting pieces take many shapes. There are Blanchard’s spindly trees that layer stripes of fabrics upward, creating visible rings encircling the trunk. Stretch is essential in these arboreal constructions, and the artist shares that she tends to alternate the amount of give a material has, allowing for small bulges and curves that resemble organic life.

      For her sprawling bouquet series, Blanchard finds inspiration from Green-Wood Cemetery near her home. She scours the trash cans for polyester scraps, tattered flags, and other materials that once honored the dead. “Remembrance Happy Birthday,” for example, came to fruition after the artist found a balloon bearing those words.

      Whether creating a figurative goddess or a three-dimensional vessel, the material guides the form. “It may look spontaneous, but I carefully consider color and pattern when sewing the strips together,” Blanchard says. “If I want to make a ‘fancy’ tree, I’ll seek out haute couture fabrics; if I’m creating a trophy urn meant to show excess, I’ll look for bright gold poly materials.” Whatever the form, though, Blanchard has a central goal: “Each time, I try to create a unique universe or personality.”

      If you’re in New York, you can see some of Blanchard’s works in Soft Structures, on view through August 8 at Jane Lombard Gallery. She’s currently working toward an open studio and exhibition as part of New York’s Textile Month, and you can find more from the artist on her website and Instagram.

      “Portraits,” installation view at SEEDS

      “Remembrance Happy Birthday.” Image © Randy Duchaine

      Detail of “Goddess 11”

      “Urn VI” (2024), fabric, leather, Mylar balloon, 18 x 16 x 22 1/2 inches

      “Bouquet 5.” Image © Paul Plews

      “Bouquet 23”

      Detail of “Remembrance Happy Birthday.” Image © Randy Duchaine

      “Urn I Love You” (2025), fabric, leather, mylar balloon, 28 x 19 x 17 inches

      “Remembrance Ninja Turtles.” Image © Randy Duchaine

      Detail of “Remembrance Ninja Turtles.” Image © Randy Duchaine

      Elodie Blanchard with trees (2022). Image © Randy Duchaine

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    • 163 Shares189 Views

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      Alicja Kwade Reflects the Warped Nature of Time and Reality in Poetic Installations

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      Installation view of ‘Telos Tales’ (2025). All photos courtesy of Pace Gallery, shared with permission

      Alicja Kwade Reflects the Warped Nature of Time and Reality in Poetic Installations

      June 25, 2025

      Art

      Grace Ebert

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      Square steel bars give way to knotted branches covered with patina in Alicja Kwade’s monumental meditation on time. Anchoring Telos Tales at Pace Gallery in New York is a sculpture in which architecture and nature converge.

      Mirrored cylinders hang among the structures with distorted clock faces on their ends. Warping further as viewers move around the forms, these timepieces reflect the ways we are all bound up with the passing of the days. Time, Kwade suggests, skews our perceptions and realities and is only partially in our control. Whereas the city conforms to human design, nature doesn’t, and neither wholly does time.

      “In Blur” (2022), powder-coated stainless steel, mirror, stones, objects, 410 x 4,700 x 13,300 centimeters. Photo by Lance Gerber

      Born in Poland and now based in Berlin, Kwade (previously) is known for confronting long-held beliefs through sculptures, installations, film, photography, and more. Her preferred materials are minimal, including stainless steel and stone. Mirrors play an important role, too, and in large-scale works like “Duodecuple Be-Hide,” panels slot between granite and marble spheres and lookalikes of patinated bronze.

      Much like Telos Tales, this sculpture utilizes these sleek reflective surfaces to call our perception into question. Altering the images they reveal depending on the viewer’s position, each mirror becomes a sort of portal in which the organic forms and bronze are replicated again and again, creating a seemingly endless array of alternate realities. A similar phenomenon occurs in “In Blur.” Surrounded by trees and stones in a desert, mirrored panels reflect the environment, while simultaneously hiding what lies behind.

      “It’s very much about human nature, (the) nature of reality, how we understand our own world,” Kwade says about her recent work. “It questions what our position is in the structure of this universe we are kind of thrown into.”

      Telos Tales is on view through August 15. Explore more of Kwade’s work on her website and Instagram.

      Installation view of ‘Telos Tales’ (2025)

      Installation view of ‘Telos Tales’ (2025)

      Installation view of ‘Telos Tales’ (2025)

      Installation view of ‘Telos Tales’ (2025)

      “Duodecuple Be-Hide” (2020), granite, patinated bronze, mirror, marble, 110.4 x 225 x 225 centimeters. Photo by Roman März

      “Duodecuple Be-Hide” (2020), granite, patinated bronze, mirror, marble, 110.4 x 225 x 225 centimeters. Photo by Roman März

      “In Blur” (2022), powder-coated stainless steel, mirror, stones, objects, 410 x 4,700 x 13,300 centimeters. Photo by Lance Gerber

      “Trans-For-Men 6” (2019), mirror, Carrara marble, concrete, granite, patinated bronze, bronze polished, stainless steel, 117 x 77 x 574.3 centimeters. Photo by Roman März, courtesy of the artist and KÖNIG Galerie

      Detail of “Trans-For-Men 6” (2019), mirror, Carrara marble, concrete, granite, patinated bronze, bronze polished, stainless steel, 117 x 77 x 574.3 centimeters. Photo by Roman März, courtesy of the artist and KÖNIG Galerie

      ‘Blues Days Dust, Mennour’ (2024). Photo © Alicja Kwade, courtesy of Archives Mennour and the artist

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    • 125 Shares109 Views

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      Roméo Mivekannin’s Cage-Like Sculptures of Museums Reframe the Colonial Past

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      Photos by Gerret Schultz. All images courtesy of the artist and Galerie Barbara Thumm, shared with permission

      Roméo Mivekannin’s Cage-Like Sculptures of Museums Reframe the Colonial Past

      June 24, 2025

      ArtHistorySocial Issues

      Kate Mothes

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      Known for bold, chiaroscuro paintings that reimagine European art historical masterworks in his own likeness, Roméo Mivekannin is interested in the Western, colonial gaze on Africa and the power of archives to reveal underrepresented or untold stories. Born on the Ivory Coast, Mivekannin splits his time between Toulouse, France, and Cotonou, Benin. His practice interrogates visibility, appropriation, and power dynamics through direct and unflinching pieces spanning acrylic painting, installation, and sculpture.

      At Art Basel last weekend, in collaboration with Galerie Barbara Thumm and Cécile Fakhoury, Mivekannin presented a large-scale installation titled Atlas, comprising a series of metal buildings suspended from the ceiling. Modeled after institutional buildings—in this case, museums that house enthographic collections—the artist draws attention to the colonialist practices and ethical gray areas that permeate these spaces and their histories.

      Often founded upon controversial or dubiously-acquired personal collections of European urban elites, larger museums historically emphasized what was seen as “primitive” or “exotic,” exhibiting a skewed view of world cultures framed by a colonialist mindset. The British Museum, for example, was established in 1753 upon the death of Sir Hans Sloane, whose collection of more than 80,000 “natural and artificial rarities” provided the institution’s foundation. His wealth—and his collection—was amassed in part through enslaved labor on his sugar plantations in Jamaica.

      Another well-known example of problematic collections include thousands of Benin Bronzes, housed in European institutions like the British Museum and others. British forces acquired many of these elaborately decorated plaques through pillage and looting in the late 19th century. Today, some museums have agreed to repatriate the bronzes to redress this historical indignity (the British Museum is still in discussions).

      As a student of both art and architecture, Mivekannin taps into the way certain structures and built environments are designed to convey prestige and dominance. He is also currently pursuing a Ph.D. at the National Superior School of Architecture of Montpellier (ENSAM).

      In Atlas, the structures take on the form of bird cages suspended from chains. Both elements symbolize captivity, likening ethnographic collections that often include human remains to what the Atlas exhibition statement describes as “human zoos.” In this context, the cages “serve as a reminder of the historical practices that sought to control and exploit ‘the Other.’”

      Mivekannin bridges past and present in this installation, inviting viewers to walk around the museums within a space that shifts the power dynamic. The work encourages viewers “to confront uncomfortable truths about colonial legacies and their ongoing impact on our contemporary society.”

      The artist scales down the museums’ palatial details to a diminutive size, displayed low, taking into consideration a kind of meta experience of the exhibition itself. In Mivekannin’s portrayal, the structures are both the cages and the caged.

      A show of the artist’s paintings, Black Mirror, is currently on view at Collezione Maramotti in Reggio Emilia, Italy, through July 27. See more on the artist’s Instagram.

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    • 150 Shares169 Views

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      In ‘Big Bad Wolf,’ Sculptor Kendra Haste Contends with Conservation and Rewilding

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      All images courtesy of Iron Art Casting Museum Büdelsdorf, shared with permission

      In ‘Big Bad Wolf,’ Sculptor Kendra Haste Contends with Conservation and Rewilding

      June 23, 2025

      ArtNature

      Kate Mothes

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      From a simple material, Kendra Haste brings us face-to-face with striking sculptures of wild animals. Known for her use of galvanized wire to create life-size portraits of everything from calm elephants to alert deer to a family of boars, the British artist is fascinated by what she describes as the “essence and character” of each creature.

      The artist’s solo exhibition, Big Bad Wolf at the Iron Art Casting Museum Büdelsdorf, is Haste’s first in Germany and continues her exploration of wildlife through eleven recent works that bridge the animals’ world and ours. Haste says, “I try to capture the living, breathing model in a static 3D form and convey its emotional essence without slipping into sentimentality or anthropomorphism.”

      If you’ve visited the Tower of London in the past fifteen years, you also may have seen Haste’s permanent display of sculptures inspired by the Royal Menagerie, technically the city’s first zoo. The building housed a collection of animals between the 1200s and 1835, many of which were gifted to kings and queens.

      Haste’s life-size animals are installed near where they were kept and nod to real denizens, like an elephant sent by the King of France in 1255 and what was presumably a polar bear shipped from Norway around the same time. The works were initially slated for a 10-year exhibition but now permanently on view in the much-loved historic attraction.

      In Big Bad Wolf, Haste’s first solo museum exhibition, she delves into conservation, sustainability, and the controversial concept of rewilding. That animals that wander through the museum, including wolves, a stag, a hind, a white-tailed eagle, lynx, and wild boars, are all native to Northern Germany. While some are endangered, others are bouncing back, and Haste taps into a regional yet universal comprehension of our delicate relationship with nature and how our actions affect it.

      “This is about how we see the natural world—how we’ve tried to shape it, and what it might mean to let it return,” Haste says. “Wire, like cast iron, holds a tension between strength and fragility. That balance runs through every piece in this exhibition.”

      Big Bad Wolf continues through November 2 in Büdelsdorf. See more of Haste’s work on Instagram.

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    • 163 Shares159 Views

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      Greg Corbino’s Fish Puppets Made from Reclaimed Trash Migrate Along the Hudson River

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      2022 performance of “Murmurations”
      at the River to River Festival. Photo
      by Robin Michals. All images shared with permission

      Greg Corbino’s Fish Puppets Made from Reclaimed Trash Migrate Along the Hudson River

      June 21, 2025

      ArtClimateNature

      Kate Mothes

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      Beginning in the Adirondack Mountains and flowing south into New York Harbor, the iconic Hudson River stretches 315 miles through scenic valleys and creative towns. It’s also a migration route for numerous species of fish, from sturgeon and bass to herring and eels, which head upstream every year to spawn. Contending with habitat destruction due to pollution and the effects of the climate crisis, the survival of these fish is increasingly imperiled. Fortunately, art and activism have a way of bringing these urgent issues to light while also bridging local communities.

      Last weekend marked the inaugural Fish Migration Celebration organized by Riverkeeper, an outfit devoted to protecting and advocating for the health of the Hudson River watershed. Unmissable amid the festivities were a series of large-scale puppets by artist Greg Corbino, part of his ongoing sculpture-meets-performance series, Murmurations.

      2022 performance of “Murmurations” at the River to River Festival. Photo by Robin Michals

      Corbino designed a larger-than-life gold sturgeon to adorn a sailing ship that led a flotilla from Chelsea Pier in New York City up to Croton-on-Hudson, home of Hudson River Music Festival. Corbino’s papier-mâché marine creatures, ranging from oysters and sturgeon to a seahorse and a whale, performed their own migration, parading along the riverbank in both locations.

      The artist describes the collective performance as a “puppet poem of city and sea” and creates each work from plastic trash he removes from New York City waterways and beaches. Through partnerships with events like the Fish Migration Celebration and New York City’s River to River Festival, he aims to highlight the impacts of climate change and raise awareness of increasing plastic pollution in our oceans.

      See more of Corbino’s work on his site.

      Riverkeeper’s Fish Migration Celebration. Photo by Priya Shah

      Riverkeeper’s Fish Migration Celebration. Photo by Rhiannon Catalyst

      Riverkeeper’s Fish Migration Celebration. Photo by Priya Shah

      2022 performance of “Murmurations” at the River to River Festival. Photo by Robin Michals

      Riverkeeper’s Fish Migration Celebration. Photo courtesy of Riverkeeper

      2022 performance of “Murmurations” at the River to River Festival. Photo by Robin Michals

      Riverkeeper’s Fish Migration Celebration. Photo courtesy of Riverkeeper

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