Totally Unique Thing. AI generated image, glazed ceramic. Installed on bespoke wallpaper, designed by Perry and produced by Liberty of London
The Wallace Collection, a storied historic mansion in London that houses an extraordinary, far-ranging collection of art and objects, invited the artist Grayson Perry to embed and create an exhibition that responds to their collections. Collected during the18th and 19th Centuries, the museum is dripping in Rococo, houses breathtaking Old Master paintings, amour, ceramics, medieval relics and sculpture. It would be, for a lesser artist, a daunting assignment.
Upon entering this exhibition, I was taken to the wall pieces immediately, especially the use of vibrantly colored embroidery string mimicking paint strokes on the canvas. Art historical references and connections are very prevalent in the works of this exhibit. It was refreshing to see this conversation of the painting canon being brought up in a contemporary light by the use of this novel medium. Amer’s love and interest in the history of painting is apparent, and her works show art historical influences intertwined with intuition and a strong painterly hand that is present despite there being no paint in the show.
Mattress 2 (We Who Believe In Freedom Cannot Rest) 2024, detail. Photo courtesy the artist
On April 26th and 27th, from 1 to 6 pm, artists in DUMBO will open their doors to the public as part of DUMBO Open Studios, offering a rare look inside the art studios along the Brooklyn waterfront. Since the 1970s, DUMBO has been shaped by its vibrant art community. This interview series highlights a handful of participating artists in 2025. Each response offers a glimpse of what’s waiting behind the studio door. Jenny Polak has been based in DUMBO since February 2025, previously participated in the BRIC residency in 2022, and returned this year to 20 Jay Street—now working from Studio #310B—through the Cultural Space Subsidy Program.
“Shared Vision: Portraits from The CCH Pounder-Koné Collection at The African American Museum in Philadelphia (AAMP). Photo courtesy of The African American Museum in Philadelphia (AAMP)
December is a gift of a month for exhibitions in Philadelphia. Those currently on display at the Philadelphia Museum of Art, African American Museum of Philadelphia, and Fleisher/Ollman Gallery are not to be missed. From macro scale celebrations to quiet personal yearnings in intimate moments, the works in these exhibitions explore the fullness and complexity of artists within and alongside Black contemporary life.
Crossings, partial Installation view at Kasmin, photo by Etty Yaniv
Chelsea has multiple exciting shows this summer, ranging from large group shows to solo retrospectives. We will highlight three shows with different curatorial premises. The Swimmer, a large-scale group show sprawling over the 9th and 10th floors of the FLAG Art Foundation, centers around the narrative of John Cheever’s short story from 1964, presenting works that dig into its themes and imagery. Another impressive large-scale group show surveys the increasing presence of weaving, textiles, and embroidery in contemporary art, featuring an international and intergenerational group of artists whose works push the boundaries of these traditional mediums. Lastly, at Pretzel, there is a beautifully curated retrospective of Malcolm Morley, offering a glimpse into the fascinating work of the late artist (1931–2018).
Installation view Womanhood 102 (with Lesley Bodzy’s Soft Embrace I, 2022. Acrylic. 69 x 43 x 11 inches, on the left and works by Katie Commodore in the middle and on the right). Courtesy of the curator.
A golden, shimmering drapery cascades from the wall—the skin-like surface of Soft Embrace is from Lesley Bodzy’s experimental work with acrylic paint. She uses the liquid pigment as a sculptural material, shaped into a malleable cloth, reminding of Lynda Benglis’s poured latex on the floor or Eva Hesse’s visceral and alluring sculptures. The sensuous object evokes a tactile experience, an imagination of how touching it might feel, through looking. Matter surprises, entering a threshold between fluid and solid, elasticity and delicacy. Jamaica Kincaid’s 1978 story Girl tells a mother-daughter dispute about how a girl should behave. “…on Sundays try to walk like a lady and not like the slut you are so bent on becoming…” The mother’s advice seems endless and castigating, instructing every aspect of daily living. Side-by-side, Bodzy’s curved drapery recalls ‘how girls should behave,’ as it seemingly hides things beneath and its smooth surface presents an image of flawless elegancy, concealing feelings in a muted position.
Latte Capitalizm, hand embroidery on cotton, 8×14 inch
Polish artist Monika Drożyńska brings her resistance embroidery to a New York audience in a solo show at Open Source Gallery and her Urban Embroidery project. The connections she makes with words within many different languages are a dexterous game of text and symbols on fabric, an adept study of transformative change for a better world. Polish curator Bartek Remisko, speaking about the work, said, “Embroidery can be about threads that bring us together to create social change.” Remisko’s insight speaks to Drożyńska’s focus on embroidery techniques in contemporary art and textiles in public spaces to further the collective conversation and play with conventional expectations.
Christopher Myers Ghezo’s Throne, 2021 Appliqué textile, 72 x 48 inches
BravinLee Projects has just launched an audacious, big, and bold exhibition of 60 contemporary artists working in textile or textile-related mediums. It’s a massive show in an unlikely pop-up space. A five-story historic brick warehouse building in the Seaport that is anything but the cool, clean white box gallery that we are used to. The walk-up gallery space has vintage wide planked flooring, old fireplaces, and deeply aged brick walls. Though it must have been a challenge to curate in the space and even more of a challenge to install, the result is a fascinating presentation of artists working in a wide range of materials and styles.
Thread and Fiber: Jovencio de la Paz, Juna Skënderi, and Lilian Shtereva
Lilian Shtereva. Samovila, 2023. Yarn, thread, batting, cochineal, and indigo dye on canvas. 24 x 18 inches. Courtesy of the artist and The Immigrant Artist Biennial.
As noted by Julia Halperin in a September T Magazine article, “[l]ong caught in the liminal space between craft and something more prestigious, works of thread and fabric are reaching newfound institutional recognition.” With the advent of AI spurring a complicated mix of overwhelm, anxiety, and curiosity, an increasing interest in fiber art seems to stem from its tactility and materiality, generating a contrasting tension with what’s available in the virtual world. Fiber art is also welcomed by the art-loving public as a medium supporting marginalized communities and their traditions. As participating artists of The Immigrant Artist Biennial 2023, Jovencio de la Paz, Juna Skënderi, and Lilian Shtereva discuss how their fiber-based practice relates to heritage, empowerment, technology, and dimensionality.
Maya Hayuk and Kathie Halfin Discuss Ukrainian Heritage and Identity
Still from Kathie Halfin’s performance Body, Land, and Water at Enmeshed, Dreams of Water on October 6, 2023. Photographed by flaneurshan. studio. Courtesy of The Immigrant Artist Biennial.
Having forced nearly one-third of Ukrainians to flee their homes as of 2022, the Russo-Ukrainian War has been a potent reminder of the absolute necessity to uphold peace, justice, and international solidarity in times of humanitarian crisis. Both being part of The Immigrant Asrtist Biennial 2023, Maya Hayuk and Kathie Halfin are artists who are inspired and empowered by their shared Ukrainian identity and heritage. Hayuk’s processes involve “set and setting,” mapping, and traditional design techniques, which is echoed by Kathie Halfin’s performance and hand-woven tapestry shown at Enmeshed: Dreams of Water. Together with TIAB’s writer-in-residence Xuezhu Jenny Wang, they speak about how their art grows out of cultural and political convictions.
