Artists square up to racial injustice via Instagram

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 article introduces 3D stencilling, a DIY trend gaining popularity on platforms like Instagram and TikTok, offering an upgraded version of traditional wall stencilling. This technique transforms flat walls into eye-catching, sculptural designs, adding depth, dimension, and texture to a space. Content creators, such as Kate Hewitt from @our_bears_home, have championed this method, using polyfilla and stencils to create embossed floral patterns, particularly in entrance areas to add a unique touch. This DIY project is highlighted as easy to execute and budget-friendly, requiring only three affordable items: stencils, plaster/filler (like Polyfilla), and a paint/wallpaper scraper. These materials are generally inexpensive, often costing under £6 each, and some may already be available at home. The accessibility and affordability of these tools contribute significantly to the trend's growing popularity among DIY enthusiasts of all skill levels. According to Gill Baker, an interiors expert at B&Q, 3D stencilling is a fun, customizable, and low-damage DIY solution. It allows individuals to transform plain walls into artistic designs that appear expensive, aligning with the importance of texture in interior design, a principle supported by experts like Kelly Hoppen. The method is versatile and suitable for various rooms, including living rooms and bedrooms, offering a timeless design feature that enhances a room's aesthetic appeal. The process begins with wall preparation, emphasizing the need for clean and smooth surfaces, with suggestions to sand down any rough spots. The next step involves selecting a stencil design, with floral and botanical patterns being common choices. Once a design is chosen and positioned on the wall, plaster or filler is evenly applied across the stencil using a scraper or putty knife. After application, the stencil is carefully removed while the paste is still wet, revealing the 3D design. This process is repeated across the desired wall areas. The article also notes that multiple layers of filler can be applied to achieve a more prominent 3D effect. Once the 3D stencils are dry, they can be left as is for a sculptural and minimalist look, or they can be painted to match or contrast with the room's decor. A significant advantage of this technique is its reversibility; if the design becomes outdated or disliked, it can be easily sanded down. This combination of ease, affordability, and stylish results makes 3D stencilling a widely endorsed social media trend for home decoration. #3DStencilling #DIYHomeDecor #InteriorDesignTrends #BudgetDecorating #WallArt #TextureInInteriors #HomeImprovement #CraftProjects #InstagramDIY

The article details "Repellent Fence," an art installation by the artist collective Postcommodity, which involved bisecting a two-mile section of the US-Mexico border fence with 26 helium-filled scare-eye balloons. The installation, which was active for four days in October 2015 near Douglas, Arizona, and Agua Prieta, Mexico, aimed to create a symbolic suture across the physical barrier. Postcommodity, comprising indigenous artists Raven Chacon, Cristóbal Martínez, and Kade Twist, utilized scare-eye balloons—typically used to deter birds—due to their eye-like iconography and traditional indigenous colors, which resonate with Native art throughout the Americas. The project required extensive logistical planning and community engagement. Initially considering the Tohono O’odham Nation Reservation, the artists decided against it due to heavy Border Patrol presence and cartel activities, which made the location unsuitable for a public art statement. Instead, they chose Douglas/Agua Prieta, where a pre-existing binational framework, a memorandum of understanding (MOU), facilitated cross-border collaboration and community participation. This MOU, rooted in a time before the border fence, served as a symbolic foundation for the project's binational aspirations. Douglas, Arizona, and Agua Prieta, Mexico, though distinct in character, maintain a fluid connection despite the imposing border fence. Douglas exhibits a classic old West aesthetic with neat streets, while Agua Prieta is more vibrant and chaotic, characterized by local businesses and impromptu street performances. Postcommodity partnered with local artists and community organizers, such as Jenea Sanchez and Roberto Uribe in Douglas, to host a series of lectures and a guided binational art walk. The art walk, themed "I crossed the line for art," encouraged participants to experience both sides of the border, highlighting the interconnectedness of the communities. Despite challenges, including a 24-hour delay in the balloon installation due to high winds and occasional communication issues between teams on either side, the project fostered a spirit of resilience and community self-determination. The art walk, though having some organizational kinks, successfully brought people together from both sides of the border to appreciate local art and shared cultural experiences. The installation itself, located several miles from the art walk, served as a powerful visual statement, with the balloons representing a symbolic bridge over the physical divide. The artists intended for "Repellent Fence" to underscore a human rights crisis affecting indigenous people across the hemisphere and to draw attention to the often-overlooked indigeneity of the borderlands. Ultimately, "Repellent Fence" aimed to challenge dominant narratives of violence and deportation by presenting an alternative perspective of life on the border, characterized by interwoven communities and shared experiences. The artwork, while seemingly benign in its use of swaying balloons, made a quietly insistent statement about the artificiality of the border and the enduring human and cultural connections that transcend it. The installation was viewed not as a definitive endpoint but as a starting point, symbolizing a potential for unity and a reminder of the historical absence of the current border structure. #Postcommodity #USMexicoBorder #ArtInstallation #IndigenousArt #BorderArt #CommunityEngagement #BinationalProject

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

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

In an era marked by rapid urbanization and increased reliance on digital devices, a burgeoning movement among contemporary artists is rekindling a connection with the natural world through their art. This movement focuses on creating murals and wall-based art inspired by nature or botany, aiming to uplift urban environments and domestic interiors. The article highlights five such artists: Anne von Freyburg, Epoh Beech, Gary Myatt, Graphic Rewilding, and Sophie Mess, whose works infuse public and private spaces with natural beauty, offering a visual respite from contemporary pressures. Sophie Mess, known for her delicate and subtle representations of nature, creates large-scale botanical murals that blend graffiti, pop art, and traditional muralism. Her work, characterized by vivid colors and abstract forms, can be found across Europe and is currently featured at the Saatchi Gallery with her eight-meter-high mural, 'Journey of Progress.' Mess believes art can positively impact the environment and mental well-being, using walls as canvases to tell stories that bridge urban settings with artistic expression. Her inspirations include Dutch Master floral still lifes and Georgia O’Keeffe’s detailed flower paintings, often incorporating flowers grown in her own garden. Anne von Freyburg, a Dutch artist based in London, incorporates textiles and decorative art into her wall-based floral pieces. Her work, inspired by Rococo paintings and 17th-century Dutch Still Life artists, brings a bold, sculptural natural element into interiors. Von Freyburg's solo exhibition, 'Filthy Cute,' at Saatchi Gallery, showcases her textile paintings from 2022 to 2025. Her installations, often of irregular shapes with dripping fringes, reimagine scenes from Rococo paintings, advocating for themes of freedom and self-reliance beyond traditional romantic narratives. Graphic Rewilding, a collaboration between Brighton-based artists Lee Baker and Catherine Borowski, aims to uplift lives with large-scale botanical and nature-inspired artworks in urban settings. Their installations, seen across the UK, China, Italy, Saudi Arabia, and Texas, provide 'visual endorphins' as an antidote to the scarcity of green spaces in cities. Drawing inspiration from Japanese art, particularly Edo-era painter Ito Jakuchu, Baker and Borowski integrate elements like leaves into their paint, creating immersive experiences that, despite being imagined nature, offer psychological benefits akin to real natural interaction. London-based artist Epoh Beech, with a background in fine art and art therapy, is renowned for her hand-drawn animations and intricate wallpaper designs. Her upcoming solo exhibition, 'The Pegasus Papers,' features hand-drawn wallpapers and pen and ink drawings inspired by French narrative wallpapers, the Bayeux Tapestry, ancient Chinese handscrolls, and mythology. Her bespoke wallpaper designs, developed over four years, involve meticulous hand-drawing, scanning, and digital printing, transforming static images into dynamic visual narratives that engage the viewer’s imagination. Gary Myatt, a mural artist and trompe l’oeil specialist, draws inspiration from Old Masters and the Arts & Crafts movement to create bespoke murals for high-profile locations. His work, which can be found in London, Europe, India, and the Middle East, focuses on evoking a distinct atmosphere through landscape imagery rather than mere illusion. Myatt's artistic process involves painting murals on canvas in his studio before installation, allowing for greater control and practical efficiency, while capturing the subtle transitions of color, texture, and light found in nature. These artists collectively demonstrate the profound impact of nature-inspired art on both urban aesthetics and human well-being. #NatureInspiredArt #Murals #WallArt #ContemporaryArt #UrbanEnvironment #InteriorDesign #BotanicalArt #MentalWellbeing #SaatchiGallery #StreetArt

The article details an unexpected collaboration between interior designer Kerry Joyce and artist Marian McEvoy, sparked by a social media connection. Joyce, known for his interior design work, discovered McEvoy's intricate collages of natural elements on Instagram, specifically under the handle @gustthepoodle. Intrigued by her unique artistic style, Joyce researched McEvoy and learned about her prominent background as a former editor-in-chief of ELLE DECOR and House Beautiful, as well as an editor for Women’s Wear Daily and W. This discovery led to a personal visit to McEvoy's home and studio in Wappingers Falls, New York. During this visit, Joyce recognized the potential to translate McEvoy's distinct artistic vision into fabric designs. He expressed his admiration for her creative energy and his conviction that her designs would be ideal for textiles. The collaboration materialized into a collection featuring five black-and-white botanical watercolors by McEvoy, which were then printed onto linen in ten different colorways. The collection showcases various nature-inspired motifs, including dotted leaves, whimsical vines, and striped florals, all stemming from McEvoy's imaginative work. McEvoy shared her perspective on this new chapter in her career, attributing her refined sense of color, style, and quality to her extensive experience in the fashion industry, particularly her 17 years spent in Paris working with couturiers like Yves Saint Laurent. She expressed gratification at the current level of interest in her work, especially at 73 years old, and highlighted the positive experience of collaborating with someone who genuinely appreciates and acts upon her artistic contributions. The success of this initial collection has already paved the way for a second collaboration between Joyce and McEvoy, scheduled for 2022, underscoring the fruitful nature of their partnership. The story, originally published in the September 2021 issue of ELLE DECOR, exemplifies how digital connections can evolve into tangible and impactful creative endeavors within the design world. #FabricDesign #DesignCollaboration #InteriorDesign #MarianMcEvoy #KerryJoyce #SocialMediaInfluence #TextileArt #BotanicalPrints #ELLEDECOR

This article features Lauren Jarrett and Melissa Greenwood, the Indigenous artists behind the brand Miimi + Jiinda, who gained recognition for their artwork showcased in Deb and Andy’s living area on the television show 'The Block.' The artists discuss their journey, inspirations, and creative process. Lauren, one half of the duo, has been painting for most of her life, while Melissa became seriously involved in art six years prior. Their inspiration stems from their tribal lands, ancestral teachings passed down through generations of grandmothers, and the stories of their strong matriarchal lineage. Their beautiful Gumbayngirr country and Melissa’s experiences as a modern-day Indigenous woman also significantly influence their work. They describe their art as a symbolic portrayal of their interpretation of Dreaming stories, drawing inspiration directly from nature. They utilize acrylics and pastels, with a distinct influence from their feminine matriarchal line. Creating a piece of art can vary in duration, from a week for smaller works to several months for larger ones, with the artists often working on multiple paintings simultaneously to maintain creative flow. Their personal aesthetic is characterized as earthy, natural, and minimal, deeply influenced by the textures and beauty of their traditional homelands. They also express a fondness for bright and bold elements that uplift the senses. The names for their artworks are derived from their Gumbayngirr language, which serves as a constant source of inspiration. The article highlights specific artworks, such as 'Mirrinmi' (Be Happy), which symbolizes finding joy in one's life path, and 'Yuludarra,' which represents their three hero ancestors in Gumbayngirr culture. The artists recount how their involvement with 'The Block' began when Deb and Andy contacted them via Instagram for a commissioned painting. Andy, being Biripi, was specifically seeking Aboriginal art, and the connection was made given Miimi + Jiinda’s Gumbayngirr heritage, located just a few hours from the Biripi Nation. They expressed immense excitement and honor in creating the piece for 'The Block,' hoping it would promote greater visibility for First Nations art across Australia and showcase their rich culture. They find inspiration in artists like Albert Namatjira and prefer to create their art 'on Country,' surrounded by their ancestral lands. Their creative environment often involves a soundtrack featuring artists such as Xavier Rudd, Ben Howard, Vance Joy, Ziggy Alberts, Nora Jones, and Baker Boy. A typical day for Lauren and Melissa is dynamic, ranging from intensive painting sessions, where their studio is filled with art supplies, to administrative tasks, order fulfillment, and sourcing materials. They also dedicate time to walking on Country, gathering natural fibers for weaving, and seeking inspiration for future artworks. Regarding balancing art with life and family, they suggest involving children in the creative process, as it can be a source of entertainment for hours and fosters shared artistic enjoyment. The article concludes by showcasing some of Miimi + Jiinda’s artwork, available online, and emphasizes their stunning original creations. #IndigenousArt #ArtistSpotlight #TheBlock #AustralianArt #GumbayngirrCulture #HomeDecor #ContemporaryArt #DreamingStories #ArtisticProcess

The exhibition 'Malware' at London's Pippy Houldsworth Gallery features artist Qualeasha Wood's tapestries, tuftings, and videos, which explore the concept of the digital glitch and its implications for the Black female experience. Wood, based in Philadelphia, focuses on internet malfunctions as a metaphor for vulnerability and change within systems. She merges contemporary digital culture with traditional crafts, translating digital pixels into stitches in her tapestries and creating intentional glitches in her video works through data compression. Wood notes that in the pursuit of authenticity, many fabricated images are produced, and her work aims to highlight imperfection and decomposition as more natural states. Her artistic process also involves incorporating strings of code into her images, shifting the focus from her physical body to its interaction within digital spaces. Wood's work investigates the disruption caused by 'glitches,' interpreting them both as digital viruses and as the presence of the Black female body within established systems. Her webcam self-portraits, in particular, consider the body as a site for both exploitation and resistance. Her interest in these themes began during her studies at the Rhode Island School of Design, where she observed the pervasive influence of social media. She found that online platforms provided a space for conversations about her experiences as a Black woman, which then informed her art. This led to her first tapestry, 'Cult Following,' which likens social media to a cult or religion due to its ability to simultaneously exalt and scapegoat individuals, a duality Wood experienced as one of the few Black students on campus. The artist's personal experiences with doxing, where her personal information was published online, further solidified her artistic direction. These incidents, occurring before she began creating her tapestries, motivated her to reclaim control of her narrative by weaving her own image into her artwork. Wood sees the digital and traditional realms not as opposing forces but as interconnected systems. Her childhood exposure to her great-grandmother's and great-aunt's crocheting sparked her interest in craft and textiles, recognizing their familiar and accessible nature. Similarly, she views computers as integral to her generation's experience, shaping pervasive relationships with technology. She identifies commonalities between traditional crafts and digital systems, both having inherent rules and offering opportunities for exploitation and creative manipulation. Wood employs a computerized loom to create her artworks, which interprets digital files to produce woven replicas of images. This method was inspired by a tapestry depicting her brother and cousins, a gift that demonstrated how images could be woven without strict adherence to stylistic conventions, utilizing scanned and collaged digital images. The most labor-intensive part of her creative process involves sifting through an extensive collection of personal phone screenshots, numbering in the tens of thousands, to select images for recreation. The actual weaving process, conversely, is less hands-on and typically takes a few weeks, often resulting in unexpected outcomes. She describes this as a release of control, relying on prayer for the desired result. As an avid consumer of digital content, with approximately 14 hours of screen time daily, Wood emphasizes the need for rapid artistic production to keep pace with the fast-evolving internet culture. Her use of pixels in her work deliberately moves beyond conventional beauty standards, embracing an aesthetic that is imperfect and raw. She views her tapestries as a 'double-edged sword,' allowing her to control the perception of her body while also being conscious of the voyeuristic gaze it might attract. The glitch, in this context, serves as a symbol of vulnerability, yet it also empowers her by subverting expectations of perfection and femininity, thereby creating a space for artistic expression and exploration. 'Malware' will be on display at Pippy Houldsworth Gallery in London until April 26. #QualeashaWood #DigitalArt #TextileArt #LondonExhibition #PippyHouldsworthGallery #BlackFemaleExperience #SocialMediaImpact #DigitalCulture

The exhibition by London-based photographer duo Adam Broomberg and Oliver Chanarin at the Foam gallery in Amsterdam delves into the history of photography, specifically exploring the issues of race and color that have been inherent in its development and technology. The title of their exhibition, "To photograph the details of a dark horse in low light," is inspired by Kodak's euphemism for a new film released in the early 1980s, which aimed to address criticisms of its racially biased film stock. The genesis of this exploration traces back to filmmaker Jean-Luc Godard's critique in the late 1970s, where he refused to use Kodak film, calling it 'racist' because its chemical composition made black faces appear featureless unless specially compensated. Broomberg and Chanarin initiated their project by using a medium format Kodak film stock with a 1978 expiry date to photograph rare initiation rituals in Gabon. Despite numerous rolls shot, they were only able to develop a single, underexposed image of a palm leaf. This seemingly simple image became a cornerstone for their complex investigation into race and photography, highlighting how product development in the industry was racially skewed and how default settings could effectively erase or distort non-white faces. A significant piece in the exhibition is a scaled-up reproduction of 'Shirley,' an image of a white model that Kodak circulated to photo labs in the 1950s. This image served as a benchmark for 'normal' color balance and dynamic range, underscoring the historical bias towards white skin tones. The artists also address the notorious difficulty of capturing both black and white faces in the same photograph using early color film, which often led to compromises in representation. Another series, titled "Polaroid Revolutionary Workers Movement," utilizes a salvaged Polaroid ID-2 system, a twin-lens camera previously employed by South Africa's apartheid regime. This system was used to create images for passbooks that black South Africans were compelled to carry, capturing both a straight-on portrait and a profile on a single sheet of film. The exhibition highlights the activism of Caroline Hunter, a chemist at Polaroid Corporation, who formed the Polaroid Workers Revolutionary Movement in 1970 to protest the company's dealings with the apartheid regime. Her efforts, along with the movement, eventually led to Polaroid ceasing its supply to the South African government seven years later. Further demonstrating the non-innocent nature of photography, other works in the exhibition involve darkroom equipment and instructions inherited from a family friend. These were used to produce black and white test strips, illustrating how varying exposure times affect the rendering of 'color' and revealing the technical biases embedded in photographic processes. The artists also purposefully misused dodging tools during development to further emphasize that photographic processes are not neutral and inherently influence how subjects are depicted, especially concerning race and skin tone. #Photography #ArtExhibition #RaceAndPhotography #AdamBroomberg #OliverChanarin #Kodak #Polaroid #Apartheid #ArtAndActivism

Jessica and Eliana, the duo behind J. Hargreaves Industry (JHi), discuss their creative journey, the genesis of their small business, and their vision for the future of independent artists. JHi is a women-owned and artist-run enterprise based in New York, specializing in one-of-a-kind jewelry, art, and soft furnishings that are deeply connected to the narratives of their larger fine art practices. One of their most significant projects, "Girls at the End of the World" (GATEOTW), intertwines themes of feminism, global warming, and political conflict. This collection seamlessly merges fine art with jewelry designs and printed furnishings, aiming to appeal to audiences interested in fine art, fashion, and interior design. Jessica explains that the project originated from sculptural paintings created during Donald Trump's first term as President, which depicted allegorical situations often inspired by old master history paintings. These narratives then evolved into hand-drawn toile-style prints for wallpaper and soft furnishings, such as curtains and cushions. From these prints emerged the concept for "The Aquanaut's Amulet," a diver's helmet pendant, with each jewelry piece serving as a wearable extension of the original drawings. The collection also includes smaller, collaborative 4x6-inch oil paintings on yupo, depicting women in green suits, symbolizing love and support among women amidst an allegorical catastrophe. The green suits, inspired by Jessica's fashion industry background, represent rebirth, and the futuristic material protects the figures from environmental elements. Eliana highlights their intention to present a collection that showcases the full range of Jessica’s creative abilities and storytelling, ensuring that no medium or audience is excluded. Both founders emphasize the importance of consumers connecting with the vision and ideas behind their products, as well as their materiality. Jessica Hargreaves, the founder, was born and raised in South London and holds a Bachelor's Degree in Fashion and Textile Design from Central Saint Martins, along with an MFA from The School of The Art Institute of Chicago. Her art practice consistently features narrative elements that allegorize personal and political emotions. Her love for fashion and adornment influences her installations, which initially appear decorative but reveal humorous, satirical, or disturbing elements. Inspired by vintage animal jewelry, she began wax carving in 2014, leading to jewelry that maintains a direct link to her painting, drawing, and sculpture. Eliana Shoffner, co-founder and Studio Manager, moved from Texas to New York City in 2019, pursuing a career in fashion. She earned a Master’s Degree in Fashion Studies from Parsons School of Design, where her research focused on the art of adornment and challenging the established art and fashion institutions. The genesis of JHi was serendipitous, as Jessica and Eliana met at Sephora in August 2023. Eliana was captivated by a ring Jessica had made, leading to a conversation about art, fashion, and their shared vision for a practice where both could coexist. After a month of planning, J. Hargreaves Industry officially launched in October 2024. Their mission is twofold: first, to establish a sustainable living through authentic and transparent creative processes, serving as a model for independent artists. Second, they aim to create "Some Other Future," an extension of JHi that will act as a selling platform for various multi-hyphenate artists, reallocating autonomy to those who haven't found their place in a single industry or medium. They believe society can support artists by encouraging consumption habits that favor small businesses and independent artists, promoting ethical production, and questioning conventional pricing. They advocate for using social media to discover and share works by independent artists, fostering a creative ecosystem that thrives from within. #JessicaEliana #JHi #ArtistRunBusiness #GirlsAtTheEndOfTheWorld #FeminismInArt #WearableArt #InteriorDesign #EthicalConsumption #IndependentArtists

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

The article explores the collaboration between designers Stephen Burks and Malika Leiper of Stephen Burks Man Made, and the Italian wood veneer company Alpi, to translate the intricate patterns of Kuba cloth into a contemporary design product. Kuba cloth, a raffia textile handcrafted by the Kuba people of the Democratic Republic of Congo, originated in the 17th century and served as a significant status symbol among the ruling class. While it was once thought that the tradition of Kuba cloth declined after the kingdom's fall due to internal rebellions and colonization, Burks and Leiper discovered during a visit to Kinshasa that this ancient art form is, in fact, thriving among a new generation of artists and makers in villages. Burks clarifies that the perception of Kuba cloth as a 'dying artform' is a Western misconception, often influenced by the commodification of 'prestige cloths.' His and Leiper's practice, Stephen Burks Man Made, is dedicated to demonstrating the current vitality of Kuba art, emphasizing that for Kuba to have a future, it must have a present. Their efforts include producing a documentary, curating an exhibition in Japan, and designing the scenography for an upcoming show at the Mint Museum in Charlotte, North Carolina, all centered on their research into Kuba cloth. A pivotal project in their endeavor is the collaboration with Alpi, a company established in 1919 and renowned for its designer collaborations with figures such as Ettore Sottsass, Alessandro Mendini, Konstantin Grcic, Patricia Urquiola, and Ron Arad. Alpi's president, Vittorio Alpi, expresses a passion for experimentation and invites designers to create unique pieces that push the boundaries of industrial production, granting three-dimensionality to Alpi surfaces. At Design Miami 2025, Burks and Leiper unveiled their collection of sculptural furnishings, titled 'Lost Cloth Object,' which translates the geometric patterns of traditional Kuba textiles. This collection, presented as part of the fair’s 2.0 section curated by Glenn Adamson, serves as a conceptual starting point for a commercial veneer that will be developed with Alpi. Burks highlights that their practice consistently investigates the intersection of craft, community, and industry. The design process involved creating a Kuba-inspired motif using thousands of laser-thin sheets of FSC-certified poplar veneer, a technique that embodies both repetition and variation, mirroring the inherent qualities of Kuba cloth. Leiper explains that each motif in Kuba cloth carries social meaning, indicating the maker or wearer, and often mimics natural shapes, acting as a language in itself. The use of variegated veneers from Alpi’s Legacy Collection adds another layer of significance, as these veneers replicate the appearance of endangered wood species like ebony, teak, rosewood, and zebrawood, without contributing to deforestation. Vittorio Alpi notes that this collection allows for the reproduction of rare woods sustainably. The 'Lost Cloth Object' collection features a curved platform, round stools, and a circular partition with integrated shelving, designed to evoke both Alpi’s postmodern collaborative tradition and the sacred, ceremonial contexts in which Kuba cloth is traditionally used. While the specific sculptural objects will not be mass-produced, the 'Lost Cloth Object' pattern is intended for further development as a commercial veneer. Burks concludes that the project honors the traditions of the Kuba Kingdom by combining African patterns with natural wood in a sculptural, modern application, connecting to Alpi's legacy of surface design. #AfricanTextile #KubaCloth #StephenBurksManMade #Alpi #DesignCollaboration #VeneerDesign #Craftsmanship #DesignMiami #CulturalPreservation

Recently, music artist Olivia Dean's Instagram profile has been observed to have a baby pink background, sparking curiosity and a desire among users to replicate this customization. This distinctive pink profile is not a general feature available to all Instagram users but is a special reward for recipients of Instagram's inaugural Ring Awards 2025. This new award scheme was introduced by Instagram to honor individuals who demonstrate exceptional creativity and innovation, driving cultural shifts and breaking barriers to achieve their ambitions. Instagram's official statement emphasizes that the awards celebrate creators who don't just participate in culture but actively shape it through their creative endeavors. An esteemed panel of judges, including prominent figures such as Pat McGrath, Marc Jacobs, and Instagram CEO Adam Mosseri, selected 25 winners for the 2025 Ring Awards. Olivia Dean was among these distinguished winners, recognized specifically for her ability to connect with her audience through "warmth, honesty, and intimacy" both on stage and online. Other notable awardees include professional skateboarder Tyshawn Jones, Japanese-American style duo Aki and Koichi, and influencer and comedian Elyse Myers, all celebrated for their unique contributions to their respective fields. As a direct benefit of winning an Instagram Ring Award, each recipient gains the exclusive privilege of customizing their profile background to a color of their choice. In addition to this personalized aesthetic, winners also receive a distinctive gold ring encircling their Instagram story, and their bio is updated to proudly display the title "Rings winner 2025." These exclusive features serve as visible markers of their recognition and creative achievement on the platform. However, for the vast majority of Instagram users, the ability to change the background color of their profile remains unavailable. Standard Instagram profiles are limited to the default white background, with customization options primarily restricted to modifying the bio and profile picture. The article clarifies that there are currently no additional built-in features that allow general users to alter the overall theme or background color of their personal profiles. The possibility of such widespread customization becoming available in the future is acknowledged as a development that would be welcomed by users. Therefore, the pink profile observed on Olivia Dean's account is a unique identifier of her award-winning status rather than a feature accessible to the wider user base. #Instagram #SocialMedia #Trends #Viral #OliviaDean #InstagramRingAwards #ProfileCustomization #CreativeAchievement

The Surface Design Show is set to feature its 'New Talent' section once again, providing a platform for emerging creatives in surface materials and lighting design. Scheduled from February 11 to 13, the event aims to highlight innovative designs and materials. This year's 'New Talent' section, curated by Jennifer Castoldi, Chief Creative Director at Trendease International, has significantly expanded, showcasing 37 exhibitors compared to 16 in the previous year. All participating designers have been in business for five years or less. Christopher Newton, Director of Surface Design Show, expressed enthusiasm for the collaboration with Trendease International, noting that Jennifer Castoldi has assembled a collection of exciting new designers with fresh ideas in material design. He anticipates that visitors will engage with the diverse designs, textures, and materials presented within the 'New Talent' area. Many of the exhibitors integrate traditional craft techniques with contemporary design approaches. For instance, Charlotte Relf, an experimental embroidery artist, utilizes exaggerated stitches to impart detail and energy to her work. Similarly, Frances Stone, a Royal School of Needlework graduate, employs various experimental embroidery techniques, including gold work, crewel work, and beading, to craft footstools, chairs, and cushions. Charlotte Clayton Design merges knitting with automotive interior design for surface applications, while Farr Designs combines photography with contemporary design through hand screen prints and digital technology. The 'New Talent' section demonstrates a broad spectrum of approaches to surface design. Janine Partington emphasizes carving and hand-painted leathers. Trifold presents designs featuring thermal and acoustic layers, folded using traditional origami tessellation. Research-based designer Megan Cowley creates mild steel molds using water jet technology, which are then transferred onto glass. Wallcoverings are a prominent feature among the 'New Talent' exhibitors. Olenka's luxury British wallpaper collection showcases natural motifs of leaves and flowers. Catherine Griffiths' work includes bold wallpaper designs, fabrics, and cushions, drawing inspiration from Celtic mythology, the Renaissance, and European architecture. West by Design specializes in intricate hand-painted wallpaper inspired by the English countryside. King Kong Design produces site-specific corporate wall art and custom wall panels for retail, public, and residential settings. A significant theme among the 'New Talent' exhibitors is sustainability and a focus on nature, reflecting the broader 'Close to Home' theme of the Surface Design Show, which emphasizes designing with a conscience beyond mere aesthetics. Jonel van Schalkwyk creates surface designs with human-sized plants in a painterly style. Designer Paula Nerlich concentrates on circular biomaterials, exploring vegan compostables and foams derived from industrial and household food waste. Atticus Durnell, founder of That’sCaffeine, has developed a material from recycled coffee grounds that emulates granite stone. Brussels-based Studio Gilles Werbrouck employs an innovative approach to material reuse by knitting textiles from unconventional sources such as video tape and dead stock from fashion designers. Access to the Surface Design Show is free for professional and trade visitors, with registration available online. #SurfaceDesignShow #NewTalent #EmergingCreatives #SurfaceMaterials #LightingDesign #InteriorDesign #SustainableDesign #MaterialInnovation #CraftTechniques

The National Portrait Gallery is currently hosting a spring exhibition titled ‘The Time is Always Now: Artists Reframe the Black Figure’. Curated by Ekow Eshun, the exhibition brings together works from 22 African diasporic artists primarily working in the UK and US, aiming to explore the representation of the Black figure in contemporary portraiture. The artworks featured in the exhibition were all created from 2000 onwards, reflecting a significant shift in artistic practice where Black artists are increasingly depicting the Black figure, a departure from historical portrayals often dominated by European or Western artists. The exhibition is structured into several thematic sections. The initial part delves into identity and representation through the theoretical framework of W.E.B. Du Bois’ 1903 concept of Double Consciousness. This theory examines the internal conflict experienced by marginalized groups, specifically the sensation of viewing oneself through the eyes of others while simultaneously maintaining an individual self-perception. Artists in this section explore the interplay between their self-identity and how they are perceived by society, offering nuanced perspectives on the Black experience. Another significant aspect of the exhibition addresses the historical absence of the Black figure in traditional art archives. Many artists engage with this void by creating new narratives and representations that challenge established historical accounts and fill in the missing visual histories. This engagement often involves recontextualizing historical art forms or creating entirely new iconographies to establish a more inclusive and accurate visual record. The exhibition also features works that focus on depicting Black gatherings, celebrating community, solidarity, and shared experiences within the Black diaspora. Eshun emphasizes the diverse approaches artists take in depicting the Black figure. He notes that there isn't a singular, definitive way to represent this subject, and the exhibition showcases a wide array of styles and aesthetics. Examples include Claudette Johnson's use of vast proportions, Nathaniel Mary Quinn's abstract and fragmented portraits, and Kimathi Donkor's adaptation of historical painting techniques to construct new narratives. This variety underscores the complexity and richness of Black identity and artistic expression. A central theme highlighted by Eshun is the shift in perspective invited by the artworks. He explains that these artists encourage viewers to move beyond merely 'looking at' the Black figure, which has been the historical mode of Western art, to 'looking with or through the eyes' of the artists or their subjects. This transition fosters a more empathetic and subjective engagement, moving away from an external, often objectifying gaze, towards an internal, relational understanding. This internal relationship, seen from the perspective of the artists and their subjects, allows for a deeper appreciation of individual experiences and cultural narratives. The exhibition is a critical examination of how contemporary Black artists are redefining the visual language surrounding the Black figure. It celebrates their agency in shaping their own representation, challenging historical omissions, and offering multifaceted portrayals of identity, community, and lived experiences. The featured works collectively contribute to a broader and more inclusive art historical discourse, promoting understanding and dialogue about the complexities of representation and identity. #EkowEshun #NationalPortraitGallery #BlackFigure #Portraiture #AfricanDiasporicArtists #DoubleConsciousness #ContemporaryArt #ArtExhibition #CulturalRepresentation

A growing number of contemporary artists are harnessing the visual and narrative potential of wallpaper in their work. Among them, Los Angeles-based painter Alec Egan finds poetry in the repetition of patterns. His recent exhibition, "The Study," at New York's Charles Moffett gallery, showcased still life paintings against floral wallpaper, with sculptures integrated into a gallery similarly adorned. Egan expresses satisfaction when wallpapers are either contained within the painting's frame or constrained by a room's corners. Photographer Liz Nielsen, who recently launched a wallpaper line with Schumacher, emphasizes immersion and repetition. She views wallpaper as framing a room, creating an enveloping environment for its objects and inhabitants, and believes it inherently holds time. Nielsen's perspective highlights the capacity of wallpaper to define and contextualize a space, moving beyond a mere decorative element to become an integral part of the artistic narrative. Multimedia duo Barrow Parke, consisting of husband and wife artists, leverage wallpaper's enveloping quality for their installation-based paintings. Their exhibitions, such as "Woman" at JDJ Gallery and the group show "Dangerous Pattern," explore how wallpaper engages viewers through movement. Mark Barrow explains that their paintings, made with meticulous detail and repeated elements, demand close attention from the viewer. The immersive nature of wallpaper, they've discovered, immediately aids in deciphering the multi-layered construction of their artworks. The increasing presence of decorative elements in contemporary art has significantly contributed to wallpaper's integration into gallery spaces. Artists are challenging the traditional boundaries that once separated craft practices like weaving, beading, and ceramics from the fine art market. Today, art exhibitions frequently feature works that draw inspiration from decorative arts, reflecting a broader acceptance and re-evaluation of these forms. Egan has been incorporating wallpaper into his art for a decade, driven by a desire to "build a house through my paintings." He notes a growing interest in "Matisse-like" paintings and draws inspiration from the floral patterns in Édouard Vuillard's works and his grandparents' home. His exploration of blossoming motifs delves into domestic nostalgia and examines themes of interiority and everyday life. Nielsen, a lens-based artist specializing in photograms, sees a connection between wallpaper and her medium. She points out that from Anna Atkins's early botanical photograms to magnified microscope patterns, there's a progression from unique, light-made prints to digital, duplicatable ones. This link suggests a shared essence of capturing and reproducing imagery. Recent trends show a nostalgic resurgence of wallpaper among millennials, prompting manufacturers like Farrow & Ball and Trove to update their designs with patterns reminiscent of older, more traditional styles. Following a collaboration with Google for backdrops and screensavers, Nielsen was invited to develop a collection for Schumacher. Her inquiry into how the subconscious is affected by peripheral imagery guided her creative process. She learned to embrace a degree of letting go in production, which fostered a creative looseness. The Schumacher collection was a collaborative effort, involving a graphic design team and wallpaper curators Barrie Benson and Chandra Johnson of Peg Norriss, who assisted with colorways and scale. Collaboration is also central to Barrow Parke's work, a practice they've maintained since meeting at RISD, where Sarah Parke studied textile design and Mark Barrow studied painting. Wallpaper serves as an ideal medium to blend their respective backgrounds. Mark Barrow highlights the significance of the "domestic" in their work, both conceptually and practically, as their studio has always been within their home. They first introduced wallpaper into their practice two years prior for an exhibition at JDJ Gallery's Ice House in Garrison, New York. Barrow notes the Ice House's history tied to labor, class, and domesticity, as it was formerly a mixed-use agro-industrial compound with living quarters. Sarah Parke explains that wallpaper was chosen to emphasize the convergence of these spheres within the exhibition, acting as an appropriate conceptual medium. The multi-layered nature of their paintings, which includes woven and embroidered elements, further enriches the narrative through texture. Parke concludes that the wallpaper became an extension of their formal structure, simply another layer in their comprehensive artistic approach. #ContemporaryArt #Wallpaper #AlecEgan #LizNielsen #BarrowParke #DecorativeArts #ArtExhibitions #SurfaceDesign #ArtisticCollaboration