Interviews – Page 4

March 11, 2026March 17, 2026, by Etty Yaniv

Spirit in the Flesh at Utopia

Spirit in the Flesh is on view at UTOPIA in Kingston, the gallery, bookstore, and studio space founded in 2025 by Lucia Cote. Curated by Saul Chernick, the exhibition brings together sculpture, painting, and works on paper by Courtney Puckett, Ben Pederson, and Chernick. The show treats art as a way of being, shaped by imagery rooted in intuition and dreams and carried into physical form through sustained attention to process. In a climate of constant noise and unrest, the works lean toward beauty, curiosity, and play. Curator and artist Saul Chernick tells us more about the exhibition and the venue.

February 26, 2026February 25, 2026, by Etty Yaniv

Women Sculptor Group: In the End, Everything Gives

At Silver Art Projects, In the End, Everything Gives brings together more than thirty artists from the Women Sculptors Group (WSG), a New York–based network of women-identifying and non-binary sculptors that now includes over 350 members. Installed within the residency spaces at 4 World Trade Center, the exhibition carries the energy of a working community—artists connected through an ongoing commitment to sculpture and material inquiry.

February 24, 2026February 23, 2026, by Ella Jackson

Lacey McKinney: Where Bodies Blur

Born and raised in New York, Lacey McKinney is a New York-based fine artist whose work explores the tensions between interspecies dynamics, gender and ecology, the paradox of life and death, and bodily transformation and decay. Having exhibited nationally, received major grants such as the NYFA/NYSCA Project Grant, and completed residencies including the McColl Center, McKinney’s practice continues to evolve. Her work meditates on the complexities of existence, as self and in relation to others, unraveling the differences that separate us, and highlighting the interdependence entangled within all species, ecosystems, and identities.

McKinney’s gestural material application and stylistic dynamism merge, meld, reconfigure, and transform figures, flora, and fauna, creating liminal compositions that blur where form begins and ends. Her pigments and paints examine the relationship between predator and prey, a relationship that, though antagonistic, still relies on reciprocity to survive. Insides become outsides, differences become diffused, and touch becomes transformative.

February 17, 2026February 17, 2026, by Chunbum Park

FanFlus: a cross-cultural curatorial collective

Soft Instructions, Yshao Lin, Soomin Kang

Fanfan Yuxuan is a New York–based curator who has worked with galleries and art fairs in Paris and New York. Through this experience, she became attentive to how exhibitions shape the presentation and understanding of artists’ work, and to the gaps that can emerge between artistic intention and exhibition context. Fan develops projects that create platforms for artists, including those connected to graduate programs in the New York metropolitan area, and approaches curating as an evolving practice informed by collaboration and the logistical realities of exhibition-making.

February 16, 2026February 16, 2026, by Stephen Wozniak

The Writing on the Wall: Becky Brown’s Pleasure Reading at Freight + Volume

Language is having a moment—again—but it no longer behaves as it once did. Words now arrive compressed, automated, endlessly replicated, stripped of duration even as they multiply. Becky Brown has been tracking this condition for years, painting language not as message but as environment: something we live inside, skim through, and increasingly struggle to feel.

February 4, 2026February 2, 2026, by Etty Yaniv

Still / Moving at San Luis Obispo Museum

Still / Moving, San Luis Obispo Museum of Art

In Dialogue

Adria Arch and Keith Wiley had never met before working on Still / Moving, their exhibition at the San Luis Obispo Museum of Art. Living on opposite coasts—Arch in Boston and Wiley in Atascadero—they developed the project from afar, connecting through shared images, ideas, and a common interest in movement and form. In the exhibition, Arch’s bright paintings and hanging shapes reach outward with color and rhythm. Her flowing, curving forms feel energetic and playful, as if they are moving through the air. Wiley’s portal-like sculptures draw viewers closer. Built from small marks and quiet details, they invite pause and careful looking, with openings that pull you inward. Emma Saperstein, the exhibition curator, discusses her curatorial vision and reflects on the museum as a venue for this project.

January 27, 2026January 27, 2026, by Etty Yaniv

Natalie Moore: Capturing Mirage

Natalie Moore, Spill, 2025,68”x 60” x 20”h, hand woven stainless steel wire, non-acrylic polymer, thread. Photo ©Martin Seck

Natalie Moore grew up in San Diego, California, and spent many summers in Norway with her mother’s family. Although she has lived in New York for much longer, the dramatic Californian and Norwegian landscapes remain a lasting influence. Climate and ecology have also become more present in her work over the last decade, as the climate crisis worsens and governments and corporations continue to minimize the effects of carbon emissions, pollution, water use, and chemical waste.

January 15, 2026January 15, 2026, by Etty Yaniv

Anne Russinof – Gestural Symphony at Equity Gallery

Emily Berger met the late painter and artist, Anne Russinof, twenty years ago at The Painting Center in New York. Russinof’s intelligence and presence were immediate. A friendship formed around their work—studio visits, openings, exhibitions, and eventually, showing together. Both were committed to abstract painting and supported each other’s practice. Berger curated this exhibition of Russinof’s elegant, rigorous paintings at Equity Gallery to bring them wider recognition. What Russinof left behind is a powerful body of work. “I believe she would be pleased with the exhibition, the beautiful catalog designed by Patricia Fabricant, and the thoughtful, poetic writing from Paul D’Agostino and friends,” Berger says.

January 12, 2026January 12, 2026, by Etty Yaniv

Meghan Roghanchi at RAM Gallery

Krista Voto and collaborator, Brittany Coburn, Her Shadow Casts No Simple Form

In her mid-twenties, Meghan Roghanchi began collecting art with her husband, engaging directly with artists and developing an interest in the relationship between artistic production and collecting. After raising three children to school age, she returned to a professional focus shaped by her long-standing engagement with art, education, and collecting. Drawing on these experiences, Roghanchi founded RAM Gallery, positioning it at the intersection of creative practice and collecting, with an emphasis on direct exchange between artists and audiences and an accessible, welcoming gallery environment.

December 8, 2025December 21, 2025, by Etty Yaniv

Curatorial visions at Montclair Art Museum

Tom Nussbaum: But Wait, There’s More!, Montclair Art Museum, installation view, photo courtesy of Jason Wyche

During her more than thirty years at the Montclair Art Museum, Dr. Gail Stavitsky, Chief Curator, has shaped the institution’s vision through exhibitions that deepen public understanding of art history while highlighting under-recognized artists. Her work extends beyond the galleries to publications that introduce new scholarly perspectives — including the recent catalogue accompanying Tom Nussbaum: But Wait, There’s More! In this interview, Dr. Stavitsky discusses her curatorial approach and the ideas guiding the Museum’s current exhibitions by Tom Nussbaum and Christine Romanell.