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    • 138 Shares199 Views

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      Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities

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      “Part of the tension (from earthen pits) II” (2024), handwoven cloth, natural and synthetic fiber, and hand coiled rope, 50 x 14 x 14 inches. All images © Sarah Zapata, courtesy of the artist, Kasmin, and Sargent’s Daughters, shared with permission

      Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities

      May 1, 2025

      Art

      Kate Mothes

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      In vibrant patchworks of woven patterns and fuzzy fiber ends, Sarah Zapata’s sculptures (previously) emerge as wall-hung tapestries, standalone pieces, and forest-like installations. Through the convergence of architectural structures, soft textiles, and myriad patterns and textures, her site-specific works examine the nature of layered identities shaped by her Peruvian heritage, queerness, her Evangelical upbringing in South Texas, and her current home in New York.

      Zapata balances time-honored craft practices with contemporary applications, highlighting the significance of Indigenous Peruvian weaving, for example, as a means of communication. Symbols and patterns composed into cloth traditionally provided a means of sharing knowledge and cosmological beliefs.

      Installation view of ‘Beneath the Breath of the Sun’ (2024) at ASU Art Museum, Tempe, Arizona. Commissioned by CALA Alliance

      In abstract sculptures that often merge with their surroundings, Zapata incorporates unexpected and vibrant color combinations with woven fabrics and tufted textures. Resisting easy categorization, her pieces are neither functional nor purely decorative, although they play with facets of both.

      Zapata consciously holds back from creating work that is too “beautiful,” inviting a remarkable, tactile exploration of relationships between craft, lineage, community, and memory.

      Some of the works shown here are included in Support Structures at Sargent’s Daughters, which continues through through May 3. Find more on Zapata’s website and Instagram.

      “How often they move between the planets” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches

      Detail of “How often they move between the planets”

      “Part of the tension (from earthen pits) I” (2024), handwoven cloth, natural and synthetic fiber, and hand coiled rope, 49 x 14 x 14 inches

      Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni

      “Towards and ominous time III” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches

      Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni

      Detail of “Part of the tension (from earthen pits) II”

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    • 113 Shares119 Views

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      Frank Kunert’s Uncanny Photos Chronicle a Surreal Miniature World

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      All images © Frank Kunert, shared with permission

      Frank Kunert’s Uncanny Photos Chronicle a Surreal Miniature World

      May 1, 2025

      ArtPhotography

      Kate Mothes

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      It’s hard to imagine a welcome mat being rolled out at the entrance to a Secret Service compound, let alone a table for two perched atop a diving platform in the middle of winter. But for Frank Kunert, these unsettling scenarios happen practically every day, albeit on a very small scale.

      Kunert’s photographs (previously) capture a range of structures and interiors that for myriad reasons, feel just a little bit “off.” Whether it’s a racetrack’s snack stand interrupting one of the running lanes, a solo dining table stuck out in the snow, or an idyllic yet impossibly narrow apartment complex, the artist’s hand-built miniature sets explore where familiarity and the uncanny meet.

      Tapping into the absurdities of everyday life, Kunert plays with architecture, quotidian objects, customs, and our associations with home or public spaces. His elaborate models appear realistic enough at first glance, but upon closer inspection, we notice things that challenge our sense of scale and material, like chalk lines on a racetrack or powdered sugar-like snow.

      Kunert meticulously designs the lighting, furniture, wall coverings, and outdoor settings to give the impression of a reality turned sideways—sometimes literally. His compositions possess a dark, ironic undertone, prompting us to pause and suspect, for example, whether what’s on the other side of the nondescript door labeled “FUN” is actually as advertised. People are never present, but we can imagine customers having just left a restaurant or a homeowner sitting just inside a closed door.

      Kunert is currently working on a series titled Dreams Come True, some images from which are shown here, which will be compiled in a book or exhibitions down the line. And later this month, Hatje Cantz releases a new monograph, The Best of Frank Kunert, now available for pre-order. Explore more on the artist’s website and Instagram.

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    • 150 Shares169 Views

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      In ‘I’m Listening,’ Barry McGee Celebrates Positivity in Amid Distress and Overwhelm

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      Installation view of ‘I’m Listening’ at Perrotin, Paris, 2025. Photos by Claire Dorn. All images © Barry McGee, courtesy of the artist and Perrotin, shared with permission

      In ‘I’m Listening,’ Barry McGee Celebrates Positivity in Amid Distress and Overwhelm

      April 30, 2025

      Art

      Kate Mothes

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      “Barry McGee lives in San Francisco—he was born there and he lives there,” critic and curator Richard Leydier opens in an essay accompanying the artist’s current solo exhibition, I’m Listening, at Perrotin. “This fact is important because his art would be profoundly different had he chosen to move to another American city.”

      McGee draws inspiration from the West Coast subculture he grew up within, surrounded by skaters, surfers, and street artists. He has long been interested in marginalized communities, societal outcasts, and those seen as subversive.

      The artist is a key figure of the Mission School, which emerged in the early 1990s through the work of a number of artists who were connected to the now-defunct San Francisco Art Institute. Other influential artists include Margaret Kilgallen (1967-2001), Ruby Neri, Claire Rojas, and more, all of whom explore the intersections between urban realism, graffiti, American folk art, and “lowbrow” aesthetics undergirded by social activism.

      McGee adopted monikers like “Twist” and “Lydia Fong” in his own graffiti writing and also explored painting and printmaking, which he still taps into in his expansive, multidisciplinary practice. He explores “dynamic panel assemblages, complex patterns reminiscent of op art, and immersive installations that explore the human condition,” the gallery says.

      I’m Listening erupts with color, pattern, and texture through a bounty of sculptures, paintings, prints, and assemblages that reimagine everyday objects. Surfboards are cloaked in optical geometric patterns in acrylic paint, and McGee’s signature grimacing, cartoonish faces appear on collages or in place of labels on glass bottles.

      “I focus on everything that is shitty on our little planet right now,” McGee says. Expressions of disgust or surprise are paired with playfulness, though. He adds, “I also celebrate all these incredible things that humans invent to stay positive and healthy.” I’m Listening continues through May 24 in Paris.

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    • 163 Shares169 Views

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      To ‘Walk the House,’ Do Ho Suh Traverses Memory and Perceptions of Home

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      “Rubbing/Loving Project: Seoul Home” (2013-2022), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House.’
      All images © Do Ho Suh, courtesy of the artist, Lehmann Maupin
      New York, Seoul, and London, and Victoria
      Miro. Photo by Jai Monaghan/Tate, shared with permission

      To ‘Walk the House,’ Do Ho Suh Traverses Memory and Perceptions of Home

      April 30, 2025

      Art

      Kate Mothes

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      “Is home a place, a feeling, or an idea?” That’s the lofty yet immanently relatable question at the heart of Do Ho Suh’s major survey open now at Tate Modern. The London-based Korean artist (previously) explores notions of belonging, connection, comfort, security, and familiarity in large-scale installations that replicate his own homes in Seoul, London, and New York, among a range of vibrant multimedia works.

      Suh is known for his use of gossamer fabric to create immersive, monumental installations. In The Genesis Exhibition: Do Ho Suh: Walk the House, the artist “examines the intricate relationship between architecture, space, the body, and the memories and moments that make us who we are,” the museum says.

      “Nest/s” (2024), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House’

      Visitors are invited to walk through “Nest/s,” for example, an expansive assemblage of colorful, sheer textile structures that link together to form a passageway or conduit. As the boundaries between interior and exterior are blurred, we’re invited to experience architecture from the perspective of movement and perception, highlighting how all of our interactions with other homes or places are inherently linked.

      Issues around shelter, safety, and community are inextricably tied to how we perceive home, especially when for many around the world, those basic needs are in constant peril or upended without warning. “Suh asks timely questions about the enigma of home, identity, and how we move through and inhabit the world around us,” a statement says.

      The Genesis Exhibition: Do Ho Suh: Walk the House continues in London through October 19. Plan your visit on the museum’s website, and follow updates on Suh’s Instagram.

      Detail of “Nest/s.” Photo by Jeon Taeg Su

      “Perfect Home: London, Horsham, New York, Berlin, Providence, Seoul” (2024), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House’

      Still from “Robin Hood Gardens, Woolmore Street, London E14 0HG” (2018), commissioned by the Victoria and Albert Museum, London

      “Nest/s” (2024), polyester and stainless steel, 410.1 x 375.4 x 2148.7 centimeters. Photo by Jeon Taeg Su

      Detail of “Rubbing/Loving Project: Seoul Home” (2013-2022), installation view at Museum of Contemporary Art Australia, Sydney, Australia. Photo by Sebastian Mrugalski

      “Home Within Home (1/9 Scale)” (2025), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House’

      “Nest/s” (2024), installation view of ‘The Genesis Exhibition: Do Ho Suh: Walk the House’

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    • 138 Shares169 Views

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      Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods

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      All images © the artist, shared with permission

      Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods

      April 29, 2025

      Art

      Jackie Andres

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      Australian artist Amiee Byrne is drawn to everyday objects that are “so normal, they’ve become invisible,” she says. Meticulously sculpting clay into life-sized representations of their counterparts, Byrne highlights the tender charm and understated significance of forgotten and discarded goods.

      Creating an accurate portrayal involves the conscientious embrace of imperfections and defects. Take, for instance, Byrne’s bear sculpture. Splooted on its belly as if frozen in time after being dropped onto the ground, the well-loved teddy bear’s fluffy yet matted fur remains slightly discolored in some areas, as well as its snout. Details of authenticity ultimately cue a poignant emotional response. “This object is getting a second chance and I like to celebrate the flaws,” she says.

      Technically speaking, the Los Anegles-based artist has developed a distinct knack for producing hyperrealistic textures. While it can be particularly challenging to accomplish lifelike surfaces with ceramic pieces, Byrne employs several underglazes to achieve the perfect sheen or flat finish atop each object.

      Often times scrolling the internet for hours, searching for tools to execute such precise textures, Byrne also explains that she is fond of experimenting with different items around the house. “My favorite tool is a dustpan broom,” she says. “I’m always bashing clay with it to create different effects.”

      Find other projects from the artist on her website, and see more work on Instagram.

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    • 188 Shares189 Views

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      Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs

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      “H.A.P.P.Y.” All images courtesy of Liz West and Mercer Art Gallery, shared with permission

      Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs

      April 24, 2025

      Art

      Kate Mothes

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      Spanning nearly the entire floor of the main space of Mercer Art Gallery in Harrogate, Liz West’s expansive new installation invites viewers to revel in color and brightness. The artist has reimagined the historic early-19th-century spa promenade room as a vibrant, sensory immersion.

      West’s solo exhibition, H.A.P.P.Y, takes inspiration from a common malady known as seasonal affective disorder, or S.A.D., which is a form of depression that often manifests in the fall or winter when the days are shorter and the temperatures drop. It typically recedes in the summer and spring.

      Continuing her interest in the effects of light, reflections, and chromatic relationships (previously), the artist created “Our Colour Reflection,” the centerpiece of H.A.P.P.Y, to highlight the emotional, psychological, and physical power of vibrancy and hue.

      Composed of 765 multi-colored discs layered in low relief across the floor, the piece transforms the environment into a luminous experience that interacts with natural and artificial light and evolves throughout the day.

      H.A.P.P.Y also includes a selection of paintings, drawings, and models for “Our Colour Reflection,” and the exhibition continues through October 5. See more on the artist’s website and Instagram.

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    • 138 Shares189 Views

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      Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations

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      “I’ve Got Bundles and I Got Flewed Out (Green)” (2023). All images courtesy of the artist and Detroit Institute of Arts, shared with permission

      Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations

      April 23, 2025

      Art

      Kate Mothes

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      From larger-than-life double-bobble hair bands to a wall of elaborate braids, Tiff Massey spotlights distinctive Detroit style. Trained as a metalsmith, the artist employs the power of material and scale to highlight the city’s neighborhoods and Black identity and culture.

      7 Mile + Livernois, Massey’s solo exhibition at the Detroit Institute of Arts, takes inspiration from the crossroads at the heart of the city’s Black business and fashion district, where the artist grew up. The area will soon be home to a new arts and community space that Massey is spearheading in an effort to guide and celebrate local kinship.

      “Everyday Arsenal” (2018)

      Personal adornment is central to the artist’s expression, which she channels through jewelry, sculptures, and mixed-media assemblages to underscore Black style with a focus on her hometown. “Whatupdoe” and “Everyday Arsenal,” for example, respectively transform a contemporary chain necklace and silver rings into monumental installations, creating terrains of portal-like tunnels and interlocked angles.

      The “ancestral flyness” of the artist’s parents and previous generations also provides a limitless well of inspiration. “How they adorned themselves has definitely been influential not only to how I adorn myself but also to the ideas that I have within the works,” Massey says in an interview for the DIA exhibition catalogue. “Detroiters, when we step outside, we step outside. We want people to see it. We want people to see us. And that has left a tremendous impression on me.”

      7 Mile + Livernois continues through May 11. Find more on the artist’s website and Instagram.

      “Baby Bling” (2023)

      “Whatupdoe” (2024)

      Detail of “I’ve Got Bundles and I Got Flewed Out (Green)”

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    • 125 Shares99 Views

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      Here’s What We’re Excited to See at EXPO CHICAGO 2025

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      Wangari Mathenge, “Re-Membering (Folded In Time)” (2025), oil on canvas, 57.99 x 82.01 inches

      Here’s What We’re Excited to See at EXPO CHICAGO 2025

      April 21, 2025

      ArtColossalPartner

      Grace Ebert

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      This week marks the beginning of Chicago’s art world Olympics as the largest fair returns to Navy Pier. From April 24 to 27, EXPO CHICAGO will host hundreds of galleries, site-specific projects, talks, and multi-disciplinary programming both downtown and across the city.

      To help you navigate, we’re sharing the artworks we’re most looking forward to seeing. And, if you haven’t gotten your tickets yet, use the code COLOSSAL25 for $5 off.

      1. Wangari Mathenge with Pippy Houldsworth Gallery (London)

      The Chicago-based, Kenyan artist will present a collection of vivid new paintings that speak to the immense amount of information generated through her intensive research process. Surrounded by books, plants, and brightly patterned East African Kanga fabrics, Mathenge’s figures lounge among objects that transcend colonial narratives.

      Ilhwa Kim, “Calculative Flight” (2024), hand-dyed hanji paper, 132 x 164 x 13 centimeters

      2. Ilhwa Kim, Gordon Cheung, and Zheng Lu with HOFA (London)

      We’ve long been enamored by Kim’s roving, rolled-paper compositions that delineate dense pathways through broader expanses. Her dynamic works will be on view alongside Cheung’s decadent paintings and Lu’s stainless steel splashes.

      Florence Solis, “Makahiya VI” (2025), acrylic on canvas, 48 x 36 inches

      3. Florence Solis with The Mission Projects (Chicago)

      Beginning with digital collage before moving to acrylic and canvas, Solis renders ethereal portraits of women infused with Filipino folklore. Delicate leaves and flowers entwine with coiled hair, while veils shroud the figures in luminous coverings, binding each with a protective, yet restrictive layer.

      Suntai Yoo, “The Words” (2024), acrylic on canvas, 91 x 117 centimeters

      4. Suntai Yoo with Galerie Gaia (Seoul)

      Fragmented, surrealist landscapes figure prominently in Yoo’s paintings, which frequently pair common objects like books, bicycles, and apples with Korean letters. The artist is particularly interested in metaphor and how distinct items interact to create meaning.

      Desmond Beach, “The Guardian of the Small & Sacred” (2025), digital painting, woven Jacquard loom, hand and machine sewn pieceworked fabric, 47″x 47 inches

      5. Desmond Beach with Richard Beavers Gallery (Brooklyn)

      Mixing digital painting with patchwork quilts, Beach creates bold, forward-looking portraits. The Baltimore-born artist invokes the ways that trauma can be harnessed for resistance and collective solidarity.

      Jimmy Beauquesne, “Phase 3. Knight of infinite resignation” (2023-2024), colored pencils on paper, hand-cut metallic frame, 62 x 41 x 2 centimeters

      6. Jimmy Beauquesne with Fragment (New York)

      Nested inside hand-cut metallic frames, Beauquesne’s colored-pencil works imagine a dreamy, apocalyptic world that drips with fantastic details. The nine pieces form a narrative of humanity’s transformation sparked by phantasmagorical change.

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