'Black Square' exhibition by Wallpaper* guest editor Taryn Simon, Athens

In commemoration of Black History Month, TRNK founder Tariq Dixon launched “Resistance::Resilience,” the latest installment of the TRNK Editions art series. This collection of photographic and mixed-media works aims to provide a fresh perspective on the history of Black activism in the United States, specifically addressing the Black Lives Matter protests of summer 2020. Dixon, a Black retailer and head of a design studio, sought to leverage his platform to inspire change and contextualize these significant events. The exhibition features diverse artistic voices, including Amandla Baraka, Gregory Prescott, and Quan Brinson, offering varied interpretations of protest and its implications for the Black American experience. These works are available for purchase, framed and unframed, starting at $150, with 25 percent of sales throughout the year benefiting the Black Youth Project 100, an organization dedicated to Black youth activism. Dixon discussed the curatorial process and the exhibition's intentions, emphasizing a desire to redefine protest art beyond a singular focus on trauma and struggle. While including documentary-style photographs of Black Lives Matter protests, the collection also highlights humanity and power within these movements. Other works, while not directly addressing recent protests, are inherently political, as Black identity and existence continue to be seen as a political act. The selection criteria involved exploring artists' broader bodies of work, even if their initial connection to the project stemmed from their protest-related art. The goal was to encompass various ways to depict Black strength and resilience, from staged vignettes and models to graphic art used in protests or created for social media amplification. One notable graphic piece included is the “All Black Lives Matter” poster by Joanne Petit-Frère. The collaborative nature of the show was evident in the development of its narrative. Dixon's understanding of protest art expanded through conversations with contributors. For example, Myesha Evon Gardner's barbershop series, which she proposed, resonated with the show's theme of resilience. This series portrays barbershops as spaces of community and camaraderie for Black men, offering a moment to depoliticize their identity. The artists featured in the exhibition come from diverse backgrounds, including commercial photographers like Anthony Geathers (sports) and Amandla Baraka (fashion campaigns), alongside those with more traditional fine art practices like Felli Maynard. Despite their varied professional paths, a common thread among all participating artists is the personal and deeply meaningful nature of their work. For those beginning to collect art and photography, Dixon advises prioritizing works that evoke a strong personal connection, whether through their intellectual message or visual appeal. He suggests that the integration of art with home decor is a secondary consideration, as beloved pieces will naturally find a harmonious place within a space. From TRNK’s perspective as a design studio, curating such art is vital because these pieces are meant to be lived with. Certain images, Dixon notes, can offer comfort, reinforce feelings of strength and humanity, and serve as daily reminders of persistence—messages that are universally valuable. #BlackHistoryMonth #ProtestArt #TRNKEditions #BlackLivesMatter #ArtExhibition #DesignStudio #Activism #Photography #CulturalDialogue

The perception of gallery walls has shifted, moving from a trend considered outdated to a timeless design element, as demonstrated by a $23 million townhouse in New York City’s Greenwich Village. Designer Sara Simon, co-designer of this project, advocates for the enduring appeal of gallery walls when executed thoughtfully and with conviction. She highlights that the key to a successful gallery wall lies in its ability to reflect the homeowner's personality and the overall aesthetic of the space, rather than adhering to rigid rules. In the featured parlor room, Simon curated a gallery wall composed entirely of black-and-white photography, specifically focusing on cultural icons like musicians. This choice was deliberate, aiming to complement a room already rich in personality with distinct furniture and a vibrant rug. Simon emphasizes the importance of scale, particularly in spaces with high ceilings, where large pieces can enhance the visual impact. She opted for a full-wall installation, mixing various large and smaller frames to create an animated, non-uniform arrangement that harmonizes with the vintage furnishings and the historic character of the home. A crucial element in achieving a cohesive yet dynamic look was the consistent use of wood frames. This uniformity in framing served as a subtle thread, allowing for variation in image size and placement while maintaining visual order. Furthermore, the decision to use black-and-white photography played a significant role in anchoring the wall's visual impact. This monochromatic palette not only lends a vintage feel without dating the space but also allows diverse subjects to coexist harmoniously, blurring temporal boundaries. Simon notes that this technique can be applied to personal photos as well, elevating casual snapshots to an editorial standard by rendering them in a single chromatic register. Despite the specific choices made for this project, Simon clarifies that these are not strict rules. She encourages flexibility in materials, colors, and mediums, pointing to her own home where a gallery wall blends photographs, paintings, and a mix of colored and black-and-white pieces. The overarching principle is alignment: a gallery wall should be an authentic expression of the individual's life, experiences, and worldview. In a locale historically known for its artistic and eccentric residents, this philosophy resonates deeply, contributing to the enduring success of the design. Simon asserts her continued enthusiasm for gallery walls, affirming their potential as a timeless design choice. #GalleryWall #InteriorDesign #HomeDecor #DesignTrends #SaraSimon #LuxuryDesign #BlackAndWhitePhotography #TimelessDesign #VintageAesthetic

Multidisciplinary artist Taryn Simon is set to bring her 2016 work, *An Occupation of Loss*, to London in April, an announcement made by the London-based arts organisation ArtAngel. This installation, originally showcased at New York’s Park Avenue Armory, involved professional mourners from approximately 30 countries performing their indigenous rituals of grief and lamentation. Many of these rites trace their origins back to pre-Christian and pre-Islamic eras. The original New York presentation featured nightly performances by these mourners within a series of 11 concrete towers, which were developed in collaboration with OMA. Simon's meticulous approach included documenting the extensive research, the process of securing appropriate visas for the performers to enter the United States, and the rehearsal phases. This comprehensive documentation was later compiled into a monograph published by Hatje Cantz the following year. The specifics of the upcoming London iteration are being kept largely under wraps to maintain an element of surprise for visitors. The chosen venue has been described only as 'a cavernous undiscovered space beneath Islington Green.' The artist has opted not to release exact details or architectural photographs prior to the opening. Instead of the OMA-designed towers, Simon is creating a new series of sculptures that will serve as enclosures for the mourners. These performers will come from 11 different countries, including Azerbaijan, China, Russia, and Venezuela. The scheduled recitations are expected to include Albanian laments, which are described as excavating 'uncried words,' Venezuelan rituals aimed at ensuring the soul's passage to the Milky Way, Greek laments that interweave narratives of life and the afterlife, and Yezidi performances recounting experiences of exile and displacement. Simon, who previously served as a Wallpaper* Guest Editor, explains that the project delves into 'the potential of this emotional space and vulnerability where individuals operate without artifice.' She expresses an interest in understanding 'the mechanics of it — even the ways it can be programmed or performed.' The artist further elaborates that the project examines 'how we mourn individually, nationally, globally – how organized religion, government or civic leadership guides and shapes mourning and how citizens are mobilized in those moments of loss.' The London performance signifies a form of homecoming for the project, as its genesis lies in a conversation between Simon and ArtAngel co-director Michael Morris in London six years prior. Morris highlights that 'the enactment of mourning in this ambitious new work for London sees Simon turn a found site into a sonic instrument for the performance of grief, measuring losses beyond language.' Given the current social and political climate in the United Kingdom, characterized by fracture and uncertainty, the themes of anxiety and catharsis explored in *An Occupation of Loss* are expected to resonate with contemporary audiences. *An Occupation of Loss* will be open to the public from 17 to 28 April, with the entrance located on Essex Road at the corner of Islington Green, London. Tickets for the installation are available through ArtAngel. #TarynSimon #ArtInstallation #MourningRites #LondonArt #ArtAngel #PerformanceArt #IslingtonGreen #CulturalPractices #Grief

The article details artist Taryn Simon's groundbreaking artwork, "An Occupation of Loss," which brings together professional mourners from various cultures to perform laments. This unique installation, initially presented in New York in 2016, is now showcased in London. Simon’s work delves into the complex nature of grief, exploring how it is expressed and managed across different traditions and how modern platforms like social media are influencing contemporary mourning. Simon explains that the project originated from her earlier work, "A Living Man Declared Dead and Other Chapters," where she first encountered professional mourners. She recognized that lament, as a form of expression that is neither purely music nor speech, and both spontaneous and scripted, necessitated a live performance medium. This led her to develop an installation that actively features these performers rather than documenting them through photography or text. "An Occupation of Loss" features 21 mourners from around the world, each bringing their unique traditions of lamentation. These performances address a wide spectrum of grief, from personal loss and the spiritual guidance of souls to the profound sorrow stemming from war, displacement, and exile. The laments, many of which have roots in ancient pre-Christian and pre-Islamic traditions, are not presented as mere ethnographic curiosities but as living practices with contemporary relevance. Simon highlights that while the cultural contexts of these traditions vary, the underlying human experience of loss connects them. Simon points out a parallel between these ancient traditions and the modern experience of grief in societies that, like contemporary London, often lack a dominant, organized religion. In such environments, the organization and expression of grief tend to become communal, national, or mediated through platforms like social media. She observes that platforms such as Twitter play a role in shaping and directing public expressions of grief, making them visible and shareable. She emphasizes that both centuries-old laments and contemporary social media posts about grief serve as public demonstrations of emotion. These public displays hold significant authority and power, capable of challenging and influencing the structures that govern populations. Simon also underscores that the performance of laments is not a relic of the past; many of the traditions featured in her work are still actively practiced today, responding to current events. For instance, a Yezidi lament addresses recent mass killings in Sinjar, Iraq, and Ecuadorean laments are featured on national radio. One Chinese mourner in the installation even incorporates modern sound technology, including microphones and synthesizers, illustrating the evolution and adaptability of these ancient practices. The London installation of "An Occupation of Loss" is housed in a subterranean, dodecagonal concrete space in Islington Green. Simon spent four years searching for this specific venue, drawn to its unique acoustic properties where sound travels and bounces in unusual, often disorienting ways. The center of the dodecagon remains empty, allowing viewers to project their own experiences of loss onto the space. The mourners perform within a series of hexagonal architectural interventions, which Simon describes as instrument-like, designed to encourage interaction and create an extreme bleed of sound. This cacophony is intended to reflect the multifaceted and often disorienting ways individuals encounter loss in the contemporary world. Consistent with Simon's meticulous approach to documentation, the installation also includes an element of record-keeping. Visitors receive a booklet detailing the complex logistical challenges of bringing each performer to London, including visa applications, anthropological testimonials, and biometric appointments. This booklet serves as a counterpoint to the ephemeral nature of performance art, ensuring that the exhaustive process and the stories behind the work endure beyond the live exhibition. Despite the transient nature of performance, Simon admits to being "addicted" to it, acknowledging the intensity and eventual disappearance of such projects. #TarynSimon #ArtInstallation #GriefAndMourning #PerformanceArt #CulturalTraditions #SocialMediaImpact #LondonExhibition #ContemporaryArt

Photographer Alex Black's debut monograph, *Scripted*, delves into the complex relationship between beauty photography and societal perceptions, utilizing the visual language of commercial advertising to create a "glossy gothic" aesthetic. Black, a renowned fashion and beauty photographer who has contributed to various magazines and worked with prominent brands like Maison Margiela, Diesel, Tom Ford, and Pat McGrath, leverages her deep understanding of advertising psychology to subvert conventional beauty standards. The book is presented as an opportunity for Black to explore the mechanics of photography and desire on her own terms, moving beyond the commercial imperatives of publications and brands. Black's artistic approach in *Scripted* is centered on deconstructing visual codes to understand what images communicate. She aims to create a duality within her work, juxtaposing high and low, minimalist and decadent, and familiar with foreign elements. This creates a space for critical reflection on how images influence our understanding of beauty. The book features high-gloss images that initially attract the viewer but then challenge them with unconventional subjects. Examples include extensively retouched faces that resemble plastic, a close-up of glossy yellow lips, and a perfectly groomed face with frizzy hair, appearing disembodied in a dark void. These images collectively present a distorted yet compelling vision of beauty. A significant element of *Scripted* is the inclusion of grids that display the same image with subtle yet impactful alterations. One such grid illustrates a red painted nail, showcasing familiar manicure shapes like square and taloned, alongside bizarre ones such as a diagonal line and saw-like spikes. This juxtaposition renders the act of nail painting as a peculiar ritual, highlighting the uncanniness of beauty practices. Another series of six images features an AI-generated face, impeccably perfect and adorned with retro makeup, reminiscent of Barbie dolls. However, its hair is styled into impossible, futuristic shapes, making it appear both old-fashioned and hyper-modern. This blend of eras and styles further emphasizes Black's theme of duality and subversion. Black explains that her project examines how identity functions as a "script" constructed piece by piece, with beauty playing a significant role in this narrative. She suggests that personal choices, such as hair dye, often tap into commercially propagated ideals rather than being purely individual expressions. *Scripted* aims to reflect this complex interplay. Black intentionally portrays the beauty process through objects and remnants that evoke a sense of harshness, even torture. This approach contrasts the inherent discomfort of beauty rituals, like waxing and hair cutting—described by Black as "quite a violent act"—with the softness and lushness typically promoted in advertising. The objective is to create a body of work that simultaneously holds both these contrasting truths. The book effectively captures this duality, exemplified by an image of a long nail adorned with various beauty detritus, such as a smear of cream and a piece of a fake eyelash. This stylized representation of rummaging through a beauty bag and getting messy serves to illustrate that the concepts of "beautiful" and "grotesque" can be synonymous. *Scripted* maintains the visual appeal of aspirational imagery while distorting it into new forms. The resulting effect is compared to a carnival mirror, reflecting a strange yet profoundly compelling image that invites viewers to reconsider their perceptions of beauty. The book, priced at €70, is available through alexblackstudio.com. #AlexBlack #Photography #BeautyStandards #FashionPhotography #CommercialAdvertising #VisualArt #ContemporaryArt #Monograph

The perception of gallery walls as a dated decor trend has been challenged by designer Sara Simon's approach in a Greenwich Village townhouse. Previously dismissed for being cluttered or belonging to an older design era, Simon's work demonstrates that with thoughtful execution, gallery walls can achieve a timeless aesthetic. Simon's design, featured in a $23 million New York City townhouse, utilizes a gallery wall composed entirely of black-and-white photography, primarily depicting musicians and cultural icons. This choice of a consistent monochrome palette is crucial in unifying the diverse images, making the wall appear cohesive despite its varied content. The images, such as The Beatles meeting Muhammad Ali or Frank Sinatra mid-shave, possess a vintage quality without being anchored to a specific decade, allowing them to blend seamlessly. Scale is another critical element in Simon's design. Recognizing the height of the walls in the parlor room, she incorporated a mix of large and smaller frames to fill the entire space, avoiding a rigid, grid-like appearance. This approach creates an animated feel that harmonizes with the room's vintage furniture and the home's historical character. Simon intentionally avoided perfectly aligned frames, opting for a more organic and dynamic arrangement to enhance this effect. To further unify the eclectic collection, Simon chose consistent wood frames throughout the gallery wall. While she emphasizes that matching frames are not a strict rule, this choice contributed to the overall harmony of this particular installation. She believes that the true success of a gallery wall lies in its ability to reflect the personality and interests of the homeowner, describing it as an expression of the individual's life and perspective. Simon highlights that her design principles are not rigid doctrines but rather adaptable strategies. She acknowledges that in her own home, she employs a gallery wall that mixes photographs, paintings, and various colors. This flexibility underscores the idea that customization and personal relevance are key to making a gallery wall timeless and meaningful. The setting of Greenwich Village, known for its artistic and eccentric residents, further supports the notion that a personalized, art-filled environment feels perfectly at home. In addition to the main gallery wall concept, the article provides several product suggestions for readers looking to create their own gallery walls. These include a pre-curated set of varied frames for an eclectic look, a bold colored print to make a statement, a consistent geometric frame for a cohesive feel, and a vintage-inspired photographic print. The article also touches upon incorporating tiny art and utilizing matted frames to give casual snapshots a sense of authority. It concludes by suggesting the inclusion of vintage tapestries as an emerging trend in art and decor, potentially integrating them into a gallery wall for added texture and interest. #GalleryWalls #InteriorDesign #HomeDecor #DesignTrends #ArtCollection #BlackAndWhitePhotography #PersonalStyle #TimelessDesign

Antwaun Sargent, a New York-based critic and curator, has curated his first exhibition as a director at Gagosian, titled ‘Social Works’. This exhibition, which opened on June 24 at Gagosian’s West 24th Street gallery, explores the concept of creating and dissecting space for the betterment of individuals and their communities, particularly focusing on Black social practice. Sargent's curatorial approach is deeply rooted in over a decade of engagement with Black American artists and is characterized by his critical perspective and realistic understanding of the art world. The show features a diverse group of artists, ranging from established figures to emerging talents, and utilizes various media and site-specific installations. The exhibition highlights the intergenerational efforts of Black Americans in developing coping strategies to navigate societal barriers, drawing inspiration from oral traditions, spiritual practices, and lived experiences. Sargent's work in ‘Social Works’ reflects his ongoing commitment to addressing Black agency, moral responsibility in representation, and the significance of formal artistic merit. His influence extends beyond formal publications, encompassing informal discussions and debates with artists and curators, where he consistently challenges existing norms and advocates for self-advancement within the Black art community. The exhibition aims to foster introspection and change by presenting multifaceted perspectives on the Black American experience. Key artists featured in ‘Social Works’ include David Adjaye, Theaster Gates, Linda Goode Bryant, Rick Lowe, and Titus Kaphar. Lauren Halsey, an architect and artist, contributes site-specific sculptures, such as her 'black history wall of respect' (II) and 'box' sculptures. Halsey's work is informed by her family's history in South Central Los Angeles and incorporates found, reworked, and fabricated materials to imagine Afrofuturist possibilities, often referencing the 'FUBUarchitecture' concept. Her pieces, whether monochromatic or vibrant, engage multiple senses and underscore the urgency of civic change from the perspective of a Black woman. David Adjaye, known for his architectural achievements like the National Museum of African American History and Culture, presents his first large-scale sculpture in the US for this exhibition. This monumental work, made from compacted earth, prompts a re-evaluation of material value and aligns with his plans for the Edo Museum of West African Art in Benin City, Nigeria, which will house the Benin Bronzes. Carrie Mae Weems contributes photographs from her ongoing series 'Roaming' and 'Museums', which depict her standing within or in front of public spaces, critically examining their inclusivity. Her presence, often in an elegant black dress, symbolizes her immovable role in supporting cultural structures. Linda Goode Bryant, a veteran in New York’s art and activism scene and founder of the first Black-run gallery, Just Above Midtown, presents an interactive living sculpture titled 'Are we really that different.' Created in collaboration with architect Liz Diller, this piece is inspired by Bryant's urban farming venture, Project Eats, and will provide free food to gallery visitors, marking a unique initiative for Gagosian. Rick Lowe, founder of Project Row Houses, showcases pieces from his 'Black Wall Street' series, which investigates the economic challenges faced by African Americans. His work draws from the history of prosperous Black communities like Greenwood in Tulsa, Oklahoma, emphasizing the importance of independent Black community building and economic empowerment. The exhibition also includes works by emerging artists such as Alexandria Smith and Christie Neptune, reflecting Sargent's commitment to showcasing artists across different career stages and fostering diverse dialogues within the art world. #AntwaunSargent #SocialWorks #GagosianExhibition #BlackArt #ContemporaryArt #CuratorialPractice #AfricanAmericanArtists #ArtAndActivism #CulturalInclusivity

Pharrell Williams returns to the Perrotin gallery in Paris to curate 'Femmes,' a group exhibition dedicated to exploring diverse interpretations of femininity, with a specific homage to Black women. This follows his 2014 show 'GIRL,' named after his album, which also took place at the same gallery. The new exhibition features artwork from 39 international artists, predominantly Black, representing various genders and generations, with many pieces being newly created for the show. The artists include pioneers like 98-year-old Betye Saar and 89-year-old Esther Mahlangu, as well as emerging talents such as Kenyan photographer Thandiwe Muriu and British-Ghanaian-Vincentian painter Emma Prempeh. Renowned artists like Mickalene Thomas and Prince Gyasi, who shares synesthesia with Williams, are also featured. Emmanuel Perrotin, the French contemporary gallerist, explained that the selection of artists involved extensive brainstorming with Williams's team. The artworks delve into themes such as the body, fashion, motherhood, activism, queerness, and spirituality, aiming to challenge historical stereotypes associated with femininity. Despite the complexities of securing all desired artists due to gallery politics, Perrotin highlighted the strength and diversity of the final group. Williams emphasized the exhibition's focus on Black artists, stating that it stemmed from a desire to amplify the voices and visibility of female artists, particularly Black women, whose experiences he believes involve a unique "gravity." The collaboration between Williams and Perrotin began in 2007 through a mutual friend, Sabina Belli. Perrotin recalled meeting Williams at a pool party in Miami, where they immediately connected over art and a shared interest in design. Their initial work together involved designing a chair, spurred by Perrotin's observation of Williams's sophisticated store designs for Billionaire Boys Club. Williams credited Perrotin with helping him recognize his own artistic worth, even as a musician, citing Perrotin's early belief in his future success with songs like 'Happy' and 'Get Lucky.' Perrotin praised Williams's curatorial approach, noting his open-mindedness and lack of pretension regarding artists' fame or recognition. This freedom from conventional art world pressures allowed for the inclusion of many artists previously unknown to Perrotin's team, thereby broadening the exhibition's scope and vision. Williams described his own journey into art appreciation as acquired, learning from figures like Perrotin, and expressed gratitude for the opportunity to engage with and present such talented works. He also reflected on how his role as creative director at Louis Vuitton menswear has profoundly influenced his creative process and overall perspective, viewing it as an "artist's residency." Williams currently considers France his creative headquarters, and Perrotin acknowledged that their long-standing friendship and collaborations have not only changed his view of art but also his perspective on life. The exhibition features a comprehensive list of artists including Nina Chanel Abney, Mequitta Ahuja, Kenia Almaraz Murillo, Malala Andrialavidrazana, Jess Atieno, Seyni Awa Camara, Gaëlle Choisne, Joana Choumali, Theresa Chromati, Kenturah Davis, Alex Gardner, Todd Gray, Prince Gyasi, Leslie Hewitt, Reggie Burrows Hodges, Lauren Kelley, Kapwani Kiwanga, Glenn Ligon, Naomi Lulendo, Esther Mahlangu, Georgina Maxim, Gabriel Moses, Zanele Muholi, Thandiwe Muriu, Zéh Palito, Emma Prempeh, Robert Pruitt, Otis Kwame Kye Quaicoe, Betye Saar, Cinga Samson, Tschabalala Self, Kathia St Hilaire, Tavares Strachan, Henry Taylor, Mickalene Thomas, Chiffon Thomas, Eden Tinto Collins, Carrie Mae Weems, and Kennedy Yanko. #PharrellWilliams #PerrotinGallery #FemmesExhibition #BlackWomen #ContemporaryArt #Femininity #ParisExhibition #ArtCurator #EmmanuelPerrotin

Tyler Mitchell, a renowned American photographer known for his work including photographing Beyonce for Vogue US, has released his first monograph titled _I Can Make You Feel Good_. This book compiles his work from recent years, focusing on themes of Black freedom, leisure, aspirations, and recreation. Mitchell intentionally designed the book to deviate from conventional art book structures, featuring uncaptioned, full-bleed images without a strict chronological or hierarchical arrangement. This approach aims to fully immerse the reader in the world he creates, emphasizing an equal value for each image. The title of the monograph, inspired by a Shalamar song, directly communicates Mitchell's artistic intention and the profound importance of his work. The book includes approximately 100 vibrant, colorful, and saturated images, occasionally interspersed with abstract close-ups and solid color blocks. Beyond the visual content, the monograph features an introduction by Mitchell himself and four essays from influential art theorists who have supported his professional and creative development. Mirjam Kooiman, curator at the Foam Photography Museum in Amsterdam where Mitchell also had a solo exhibition of the same name, contributes an essay that explores the critical significance of Black artists creating and circulating images of Black bodies. Her essay begins with a powerful quote from Frederick Douglass, highlighting the historical use of self-representation by Black American men to demand moral recognition and elicit empathy. Isolde Brielmaier provides a formal analysis of Mitchell’s photography, encouraging readers to consider the power found in everyday moments. Deborah Willis, Mitchell’s former photography professor at NYU, discusses how the absence of certain narratives has motivated Mitchell's creative output. Mitchell's initial inspiration stemmed from images of carefree youth he encountered on Tumblr as a teenager, which depicted young people enjoying themselves without anxiety or stress. He sought to center a new protagonist within this narrative, believing in the power of the imaginary, especially the Black imagination, as a significant force. An interview with curator Hans Ulrich Obrist at the end of the book showcases the fluid nature of Mitchell’s practice, which spans fashion, art, and film. Mitchell stresses the role of imagination in creating new realities and expanding the possibilities for Black youth. The photographs in _I Can Make You Feel Good_ are drawn from Mitchell's extensive career, encompassing work from high-fashion magazines, personal projects, and commissioned pieces. These images transport viewers into a world where young Black individuals can freely play, explore without limitations, and express affection without fear of judgment. Mitchell's vision serves as a comfort against the chronic exhaustion and systemic challenges often faced by the Black community. The characters in his work are genuinely carefree, existing for themselves and their community. Instances include figures relaxing in a yin-yang position with scattered gummy bears, symbolizing abundance, and others dressed formally but at ease on a picnic blanket, suggesting that public rest is normal for them. The book also captures Black youth engaged in nostalgic activities like hula-hooping, dancing, swinging, jump-roping, and skateboarding. While not his first publication, _I Can Make You Feel Good_ is presented as Mitchell's most crucial and beautiful work to date, offering a vision of Black Elysium that merges past, present, and future, providing a much-needed escape from contemporary struggles. #TylerMitchell #Photography #BlackFreedom #ArtMonograph #Utopia #VisualArt #YouthCulture #ContemporaryPhotography

Tekla Evelina Severin, a renowned color and design expert, recently unveiled her "Colour Vibes" installation at the FORMEX interior fair. The project, spanning 250 square meters (nearly 2,700 square feet), transformed an empty space into a vibrant, multi-room experience. Severin's approach involved exhibition design, curation, and styling a series of distinct rooms, each resembling a meticulously staged set for a magazine photo shoot or a perfectly executed home interior. The design draws inspiration from concepts like labyrinths, hide-and-seek games, and the geometric complexity of a Rubik's cube. The installation, titled "Dimensions of Colour," features multiple spaces arranged in a zigzag formation. This deliberate layout is designed to offer dynamic changes in perspective from every vantage point. As visitors navigate the space, new framed vignettes continuously emerge, showcasing evolving color palettes that create a unique interplay between realism and surrealism. The immersive environment showcases a carefully selected collection of 200 products from 400 exhibitors, ensuring a diverse yet cohesive mix of objects that seamlessly integrate into the colorful settings. A defining characteristic of each space within "Dimensions of Colour" is the consistent use of black and white checkered floors, which serve as a striking contrast to the rich, saturated wall colors. These bold color-blocked walls provide a backdrop for a variety of furnishings. Some pieces are chosen to match the existing color schemes, while others are intentionally selected to create a vibrant contrast. This thoughtful curation assigns a specific purpose to each room, clearly delineating areas such as a living room, kitchen, bedroom, kid's space, or atrium. Despite the extensive use of various colors throughout the installation, Severin's expert eye ensures that no hue feels out of place. Each color harmonizes with its immediate surroundings, with adjacent colors, and with the colors observed in the subsequent spaces, contributing to a cohesive and visually engaging experience. #TeklaEvelinaSeverin #ColorBlocking #FORMEX #InteriorDesign #ExhibitionDesign #ColourVibes #HomeDecor #DesignExhibition

Mickalene Thomas's exhibition series, 'Beyond the Pleasure Principle,' is a four-part, multi-site presentation across Lévy Gorvy galleries in New York, London, Paris, and Hong Kong. This international exhibition features interconnected bodies of work, including paintings, illustrations, and video pieces, expanding on Thomas’s extensive study of the Black female body as a symbol of power, eroticism, agency, and inspiration. The timing and scale of this exhibition necessitated Thomas to work on multiple bodies of work simultaneously, tailored to the cultural audience and socio-political context of each city. The exhibition’s design is specifically adapted for each of its four locations. The series began in New York in early September, where Thomas unveiled her latest large-scale _Jet_ paintings. These works draw inspiration from vintage pin-ups found in _Jet_ magazine, a publication central to Black American life since 1952. Thomas recontextualizes these anonymous pin-ups through diverse material techniques, including silkscreen, oil, acrylic, and rhinestones, to celebrate their beauty, strength, and individuality. In these pieces, Thomas employs the formal language of 19th and 20th-century avant-garde movements to express freedom, fluidity, and experimentation. Furthermore, she integrates and highlights the political paradigm of Black liberation, positioning the works as a vanguard of American culture. The narrative continues in London, where the second part of the series delves deeper into the historical context of the source material. Seven new _Jet Blue_ paintings feature archival imagery from _Jet_ magazine, initiating a refreshed dialogue about beauty and identity in contrast to outdated cultural perceptions. These historical images carry significant personal weight for Thomas, as she typically works with subjects she knows intimately, and her adolescence in the 1970s profoundly influenced her artistic output. Additionally, this segment of the exhibition includes the debut of _Je T’aime Trois_ (2018), a film created in collaboration with her life partner and muse, Raquel Chevremont. Thomas’s artistic practice is dedicated to portraying Black beauty, femininity, and power in a manner that liberates these concepts from cultural oppression and marginalization. Her engagement with a touchstone of Black American culture like _Jet_ magazine underscores her commitment to making both historical and contemporary celebrations of Black identity, femininity, queerness, and transgressiveness more visible. The sequential presentation of the shows is critical for establishing a comprehensive narrative, allowing viewers to experience a cohesive journey. While the shows are distinct, each possessing unique aesthetic formalisms and references, collectively they form a thematically consistent thread concerning the Black female body, connecting the various cities and countries. The third and fourth chapters of the exhibition, opening concurrently in Paris and Hong Kong in October, offer audiences the opportunity to experience the full scope of Thomas’s vision both in person and virtually through installation videos, extending the artistic journey to a global audience. #MickaleneThomas #BeyondThePleasurePrinciple #BlackArt #FemaleArtists #ContemporaryArt #Exhibition #LévyGorvy #JetMagazine #BlackBeauty

This article profiles Chicago-based visual artist Amanda Williams, highlighting her distinctive approach to exploring race, social space, and urban landscapes through the medium of color. Williams, recognized as a future creative leader by architect Frida Escobedo, leverages her architectural training from Cornell University to critically examine how racial dynamics influence the perceived value of spaces. Her work, showcased in prestigious venues like the Venice Architecture Biennale, MoMA, and the Museum of Contemporary Art in Chicago, challenges viewers to reconsider their understanding of built environments. One of Williams' most significant projects, *Color(ed) Theory*, delves into the redefinition of color through the lens of Black culture. This series features eight houses in Chicago’s Englewood neighborhood, all slated for demolition. By painting these neglected structures in specific hues and then photographing them, Williams draws attention to the systemic underinvestment in African American communities. A key aspect of this project is the unique color palette she developed, with each color named after culturally resonant items, places, or spaces within the Black community. Examples include "Pink Oil Moisturizer," referencing a hair product for Black hair, and "Harold’s Chicken Shack," an homage to a popular African American-founded fast-food chain in Chicago. Other colors like "Ultrasheen," "Newport 100s," "Crown Royal Bag," "Flamin’ Hot Cheetos," "Currency Exchange," and "Safe Passage" all carry specific cultural meanings, which Williams notes are immediately understood by members of the African diaspora. This linguistic and cultural nuance highlights the different interpretations and understandings that arise between disparate communities, effectively using color to bridge or highlight these gaps. *Color(ed) Theory* gained significant recognition, being exhibited at MoMA and featured in *The New York Times* as one of the "25 Most Significant Works of Postwar Architecture." Another notable exhibition, *Embodied Sensations*, a solo show at MoMA in spring 2021, explored themes of bodily autonomy and movement within space. Williams conceptualized this exhibition during the global pandemic, drawing parallels between the disorientation and restrictions experienced by the general population during Covid-19 and the everyday physical and social constraints faced by marginalized groups, particularly Black women. The exhibition included a performance piece where visitors engaged with prompts related to movement, further emphasizing the lived experience of navigating restricted spaces. Williams explains that this shared sense of vulnerability during the pandemic allowed her to remind audiences that such limitations are a constant reality for many. Looking ahead, Williams is scheduled to participate in a group exhibition titled *Social Works II* at Gagosian London and will present a standalone booth at Art Basel Miami with Rhona Hoffman Gallery. Her year-long project, *What Black Is This You Say*, which began as an Instagram series during the pandemic, has evolved into watercolors, oil paintings, and public art installations displayed at the Storefront for Art and Architecture in Manhattan. Williams views her work as an opportunity to ask challenging questions about racial inequality and the persistent struggle for existence faced by Black individuals globally. She contends that art, design, and architecture have historically contributed to these spatial injustices, making it imperative to address them through creative practice. Williams expresses optimism about the current moment, believing it to be a crucial period for Black artists and designers to not only be recognized but to thrive. She emphasizes the concept of prosperity, which for her encompasses joy, liberation, and self-determination. This idea is explicitly explored in projects such as *We’re Not Down There, We’re Over Here*, featured in MoMA’s *Reconstructions* exhibition. Through her diverse artistic output—including paintings, installations, and exhibitions—Williams consistently raises critical questions about urban environments, racial undertones, and political issues, asserting that "There is no day when colour isn’t present," underscoring the pervasive nature of these themes in daily life. #AmandaWilliams #ArtAndArchitecture #ColorTheory #SocialJustice #UrbanArt #BlackCulture #ContemporaryArt #RacialEquality

The article explores the exhibition 'In the Black Fantastic' at London's Hayward Gallery, curated by Wallpaper* contributing editor Ekow Eshun. The exhibition, which is part of a larger series of events at the Southbank Centre, is accompanied by a book of the same title. The show serves as an eclectic examination of Black past, present, and speculative futures, aiming to challenge Western accounts of history and offer alternative narratives. Eshun's curatorial approach emphasizes the concept of the 'Fantastic' as a means of excavating and uncovering reality, rather than escaping it. This perspective allows for the deconstruction of centuries of socially assigned personhood and the creation of new meaning from what remains. Many of the featured artworks emerge from this understanding, positioning Black life as a realm of possibilities rather than solely an interrogation of historical conditions tied to previous definitions of Blackness. The exhibition aims to present new propositions and possibilities of Black self-hood, space occupation, and imagination. The exhibition features a diverse range of artistic mediums, including film, painting, sculpture, and installation. Notably, a selection of films created specifically for art spaces is included. Eshun highlights that these films, unburdened by commercial demands, are able to expand the possibilities and 'spectacular strangeness' of Black existence by venturing into other realms. Artists are afforded a greater license to explore personal interests, drawing from conventional histories, folklore, myth, spiritual traditions, pageantry, and the legacies of Afrofuturism to forge what Eshun terms 'The Black Fantastic.' Among the artists showcased are Tabita Rezaire, whose work 'Ultra Wet – Recapitulation' (2017) is presented, and Hew Locke, whose installations are prominently featured. Other contributing artists include Nick Cave, known for his 'Soundsuit' responding to racial violence; Kara Walker, with her stop-motion animation film on the same theme; Chris Ofili; Sedrick Chisom; Ellen Gallagher; Rashaad Newsome; Cauleen Smith; and Lina Iris Viktor. The exhibition critically addresses the placidity of Western historical accounts concerning Blackness, arguing that the global system often leaves non-Western narratives unexplored. It encourages viewers to engage in internal investigations of how 'Western megalomania,' manifested through global homogenization, has obscured ancient discoveries, counter-histories, and future visions from cultures of the 'global south.' The article suggests that by conforming to Western narratives, individuals may become complicit in what is described as an 'attrition of the archive.' The exhibition ultimately calls for an openness to these alternative perspectives, which can challenge and enrich our understanding of history and identity. #BlackCulture #ArtExhibition #HaywardGallery #EkowEshun #BlackFantastic #Afrofuturism #ContemporaryArt #CulturalCritique #LondonExhibition

Susan Alexandra, known for its vibrant and beaded accessories, has opened a new store in New York City's Lower East Side, offering a colorful and whimsical retail experience. The store's design, spearheaded by founder Susan Korn in collaboration with Lula Galeano of Studio Galeon and Levi Shaw-Faber of Wiggle Room, transforms the space into a 'pigmented oasis' that draws inspiration from playful, retro aesthetics like '80s roller rinks, watermelons, and bananas. This design ethos extends beyond a mere shopping destination, providing a source of innovative and bold home decor inspiration that can be adapted for various personal styles. The store's exterior immediately captures attention with its bright yellow facade, setting the tone for the interior's vibrant color palette and unique architectural elements. One notable feature is the beaded banana door handle, a whimsical detail that exemplifies the brand's playful approach. Inside, the design incorporates several distinct elements that can be translated into residential settings. For instance, colored-glass bricks are used to create custom archways, room partitions, and corner tables, introducing a burst of color and a disco-like ambiance while minimizing the need for traditional wall hangings. This approach suggests an alternative to conventional wall decor, using structural elements to infuse color and light into a space. Another design technique highlighted in the store is color-blocking the ceiling and the top quarter of the walls, a concept referred to as 'Accent Wall 2.0.' This method creates a dynamic feel in any room and can be further enhanced by painting accent shelves and cubby spaces to match, integrating storage with the overall color scheme. The use of mosaics, described as a supersized version of Susan Alexandra's beaded bags, is prevalent throughout the store. Multicolored tiles in various shapes and sizes are employed to craft custom images and patterns, effectively embedding visuals directly into the walls, offering a creative alternative to wallpaper or paint for personalization. Lighting also plays a significant role in the store's design, featuring bespoke elements such as giant fruit sconces and intricate beaded chandeliers. While these are custom creations, the article suggests that antique and modern lighting fixtures can serve a similar purpose in residential interiors, introducing interesting colors and silhouettes that act as bold decorative choices. An example provided is the Matin wall sconce from Hay, illustrating how specific lighting pieces can contribute to a space's overall aesthetic. These design choices collectively offer a blueprint for homeowners looking to incorporate vivid colors, unique textures, and playful elements into their living spaces, moving away from neutral palettes toward more expressive and personalized interiors. #StoreDesign #HomeDecor #InteriorDesign #ColorBlocking #MosaicTiles #LightingDesign #RetailSpace #SusanAlexandra #NewYorkCity

Acquiring art for one's home can be a deeply personal endeavor, expressing the homeowner's personality and the unique story of their living space. While traditional art acquisition was often limited to local stores or art galleries, the digital age has ushered in a plethora of online platforms, democratizing access to a vast array of art. This expansion of choice, however, can also lead to decision paralysis, making it challenging to navigate the extensive online art market. This guide curates seven distinguished online art retailers, each catering to specific preferences and needs, simplifying the process of discovering and purchasing wall art. Minted, for instance, stands out for its customizable prints by independent artists. Operating as a community-first marketplace since 2008, Minted hosts monthly challenges where design enthusiasts vote on submissions, ensuring that the curated collection resonates with popular taste. While this model guarantees a wide selection of decor-worthy art, it can also lead to the prevalence of certain trends. Minted offers extensive customization options for size, orientation, and color, alongside practical features like an augmented reality tool to visualize art on one's wall and free styling advice from experts. Its prints are numbered limited editions by artists from over 100 countries, though standard shipping can take up to ten days. For those new to art collecting, Uprise Art provides an accessible entry point to original contemporary art. It aims to demystify the traditional gallery experience by presenting artworks online, categorized by medium, curated collections, or artist profiles. The platform also offers free art advisors to guide new collectors. Chairish is highlighted as the premier destination for secondhand and vintage art, boasting an immense collection that is easily searchable by various criteria, including style, color, and even proximity for local pickup. This platform fosters direct negotiation between buyers and sellers and continuously updates its inventory. Tappan Collective is recommended for individuals seeking modern art that makes a striking statement. It showcases original and limited-edition works from artists across diverse mediums, with a focus on pieces that can serve as focal points for an entire room's design. The platform offers curated collections and guest curations by renowned tastemakers, along with personal art consultations. While its offerings are generally higher-priced due to their original and limited-edition nature, they represent an investment in the artists' careers. 20x200 operates under the motto "Art for everyone," specializing in museum-quality, limited-edition prints made with archival inks on cotton rag paper, each accompanied by a signed and numbered certificate of authenticity. It presents a broad spectrum of artists, from emerging talents to legendary figures, and features a unique "Browse by Mood" tool to help customers find art that aligns with their desired room ambiance. Artfully Walls is distinguished by its affordable prints and robust interactive tools designed for wall planning. It offers an extensive range of prints and provides inspiration for gallery walls, along with a "Wall Designer" feature that allows users to mock up art arrangements in a virtual room. Lastly, Everything But the House (EBTH) brings the excitement of estate sales online, offering a dynamic auction-based platform for unique vintage art finds, along with other collectibles. When choosing art, factors such as whether the artist is emerging or established, the medium of the art (painting, photography, sculpture, etc.), and whether the piece is an original, limited-edition reproduction, or general print run significantly impact price and value. Many online shops provide framing options, but custom framing services are also available. Proper styling involves experimenting with placement, considering eye-level hanging, and maintaining appropriate spacing above furniture. For renters, options like Command Strips or monkey hooks offer solutions for hanging art without extensive wall damage. Creating a gallery wall benefits from pre-planning by laying out pieces on the floor to finalize arrangements before hanging. Affordable art can also be sourced from thrift stores, antique shops, or by repurposing art books and engaging in DIY projects. Ultimately, the best art for any space is one that brings joy and enhances the home's aesthetic, with numerous online avenues available to suit diverse tastes and budgets. #WallArt #OnlineArt #HomeDecor #ArtCollecting #InteriorDesign #CustomizablePrints #VintageArt #ModernArt #LimitedEditionPrints

The article discusses the 'Pattern' exhibition by French street artist JR in Hong Kong, highlighting his unique approach to art that prioritizes anonymity and social commentary over commercialism. JR, an internationally recognized artist, chooses to remain anonymous, using only his initials. This anonymity, he explains, was initially a practical measure to avoid being caught for graffiti, but it now allows him to work freely and ensures that the focus remains on the subjects of his art rather than himself. JR's work often involves photographing residents in specific areas and then pasting monumental images of them on buildings within those communities. His most famous projects include 'Women are Heroes,' where he photographed mothers in a dangerous Rio de Janeiro favela who had lost their sons to gang violence. The black-and-white portraits of their eyes, pasted on favela homes, generated significant international attention, underscoring his belief that the subjects' narratives are more powerful than his own. Another notable project involved displaying parallel portraits of Israelis and Palestinians with similar professions on both sides of the Palestinian border, which sparked dialogue about perceptions of enemies. The 'Pattern' exhibition in Hong Kong is a culmination of JR's TED prize-winning project, 'Inside Out.' For this project, JR invited a diverse group of Hong Kong citizens to participate by having their portraits taken in his itinerant photo booth. Sixteen of these portraits were then pasted onto an elevated footbridge, strategically placed to be visible from the Cesar Pelli-designed IFC complex, where Galerie Perrotin, the exhibition's sponsor, is located, and the surrounding skyscrapers. The exhibition extends inside Galerie Perrotin, where JR showcases his first series of 'crinkled' cast aluminum sculptures and photographs on wood panels. In an interview, JR explains his philosophy, emphasizing that his work is not about political statements but rather a byproduct of engaging with people and their stories. He avoids brand sponsorships, believing they dilute the message. He also highlights the importance of architecture in his art, adapting his pictures to the specific buildings and urban landscapes, whether it's small Liberian structures or the vast scale of Paris. The Hong Kong bridge installation, he notes, was chosen to foster a dialogue between the city's workers and the portrait subjects. The Hong Kong exhibition marks a new direction for JR with the introduction of sculptures, which he sees as a way to bring his street art practice indoors. These sculptures, made from 'crinkled' cast aluminum, mimic the appearance of crumpled paper but are permanent pieces. He also presents photographs on wood panels, where the image is painted in reverse and then slowly revealed by peeling off the paper, allowing the wood's natural grain and marks to become part of the artwork. The 'Pattern' title also references the use of dots, or pixels, in his images, which helps accommodate lower-quality camera photos and integrates this technical aspect into the artistic concept. JR concludes by reiterating that his 'Inside Out' project is ultimately about the participation of thousands of other artists who use art to express themselves, making it their faces and their stories. #JR #ArtExhibition #HongKong #StreetArt #Photography #InstallationArt #Anonymity #SocialCommentary #GaleriePerrotin