"The four large-scale canvases that constitute the core of ' Misfits' maintain the fundamental elements of the artist's visual lexicon while radically reconfiguring compositional structure and spatial organization. These works advance a design freedom that is simultaneously forceful and controlled, achieving a balance between expressive intensity and formal restraint. As such, the series marks a decisive moment in Nuñez artistic evolution and possibly an initial step toward a more profound and transformative reorientation of his practice."
This is the site of the Florida state historical marker commemorating Arthur Lee McDuffie, a Black insurance broker and former US Marine whose 1979 beating death at the hands of Miami police ignited one of the most consequential uprisings in the city's history. A plaque unveiled in February 2024 at the site of his attack finally acknowledged the violence that fractured McDuffie's skull and the community-wide outrage that followed.
"I have been reading your book The Lonely City: The Art of Being Alone and I wanted to write and say how very good it is," "I discovered Henry Darger's work about 15 years ago. I am so interested in how you write about him and [Edward] Hopper, [Andy] Warhol and [David] Wojnarowicz."
Some of the original concepts were let go because I couldn't execute them the way I envisioned them. I think that's just part of the process for a lot of artists though. Some ideas sound great initially, but have trouble connecting once they start. That's where "intuition" comes in and I just try to not overthink anything and work. I usually start with an initial plan and over time, instinct kicks in and it becomes a completely different painting.
I have chosen to paint many elements incompletely, in fragmented splatters, drips, and glazes to emphasize their lack of solidity and definitiveness. From these fragments, our cultural needs and desires are often revealed: movement, disposability, convenience. While not majestic or inherently aesthetic, I try to paint these banal places with a degree of sympathy. In some sense, it is an attempt to try to love this strange world we have created. The views in these paintings were selected because they have historical roots.
The show brings together a selection of works, most of them large-scale, in which Cugusi unfolds his distinctive visual universe: reinvented landscapes, reconfigured classical symbolism, and scenes that expand the boundary between the real and the imagined. In Imminence, each work functions as a visual poem that invites viewers to abandon strict logic and step into a territory where emotion and intuition build worlds that evoke possible -and potentially imminent- futures.
A selection of recent paintings by Sri Lankan-American artist Shyama Golden. Born in Texas, Golden's work utilizes world-building and narrative to reveal the constructed nature of identity. The series, "Too Bad, So Sad, Maybe Next Birth," exhibited at PM/AM gallery in London earlier this year. The paintings follow the idea of past lives and deaths as Golden charts her own over the past 200 years.
LaMontagne Gallery is pleased to present Motion Pictures, a solo exhibition of new paintings and sculptures by Sean Downey. The work uses images and forms as proxies for a feeling sense about time. Distinctions between the political, cultural, historical, and autobiographical become fluid, and imagery arises that seems almost to tell a story yet is primarily aimed at evoking sensation - particularly one that embraces contradiction.
My faces are a mixture of the past and the present. I cannot paint the horrors of the ongoing genocides of our times directly, but their shadows did affect the mood under which these faces were made. Portraiture deals with likeness and the recognition of people known. Faces deal with the nameless. They include those dehumanised, like fugitives, branded as aliens.
Opening on November 14, 2025, at the gallery's Bikini Berlin location, this immersive showcase invites visitors to explore the intricate relationship between perception, stillness, and the malleable nature of time. Drawing inspiration from the phenomenon of chronostasis, where a fleeting moment appears to elongate, the exhibition encapsulates the delicate dance between motion and remembrance. Through their distinctive practices, Wirths and Flad illuminate how focused attention can metamorphose our experience of time itself.
Whether working on large-scale commissions or more intimate drawings, sketchbooks remain Wymer's primary jumping-off points. "I've been keeping sketchbooks since middle school, when I filled them with graffiti tags, local DIY show flyer ideas, and zine layouts," Wymer tells Colossal. "Over the years, they've evolved from casual notebooks into an essential part of my creative process. I carry one with me at all times, and without it, I feel pretty untethered."
Gerhard Richter turned 93 this year, and has still been hard at work. Though he officially gave up painting in 2017, with a final sequence of elaborate abstracts, he has recently been turning out small, exquisite, painterly works on paper. And now the full range of his very long career, from his breakthrough photographic paintings of the 1960s to last year's ink-cloud drawings,
"Water is important to people who do not have it," Joan Didion wrote, "and the same is true of control." She was talking about California, and the impressive machinery-"the aqueducts and siphons and pumps and forebays and afterbays and weirs and drains"-that has, since the early 20th Century, made American life as we know it to be plausible in the West.
A new body of work exploring moments when spaces shift and time overlaps by Paris-based artist Sophie-Yen Bretez. "The Unsaid Remains Remembered" represents what Bretez calls a "dramaturgy of passage." Working with shaped canvases and large-scale compositions, she turns everyday objects into symbolic thresholds guiding the viewer between intimacy and vastness, presence and absence. Horizons of changing skies and seasons coexist with traces of the body-reflections, bite marks, stains-where ambiguity unsettles.
The exhibition gathers three strands - haircuts, still lifes, and a storefront - into a single season, a climate of attention for small, ordinary acts. In the haircut series, intimacy is staged at close range: a pair negotiating blades and trust, one seated in vulnerability, the other holding the shears. The vertical format elongates the encounter, turning an ordinary trim into something ritualistic, even a little dangerous. Flesh tones are chalky, almost earthen, as if the body were drawn from the ground.
Only Lovers began with the idea of theatre. I built myself a nest of hours on the stage: a place where everything is carefully planned, placed and rehearsed. Every character is aware of the viewer, posing with emotions from a script of confessions and fantasies. The scenes are set by the sea, on various beds, with pareidolic jokes making their shy appearances.
Caleb Hahne Quintana paints in the sun-bleached palette of his native Colorado. From afar, his canvases seem effortless in their clarity; up close, layers of paint dragged, blended, and muddied into hundreds of subtle shades resolve into a single limb or a patch of sky. His latest series, A Boy That Don't Bleed, on view at Anat Ebgi through October 18, 2025, pushes this concern with paint into new psychic terrain.
Murni or I Gusti Ayu Kadek Murniasih, to go by her full name was a Balinese artist who shrugged off all the norms and expectations that life chucked at her and instead made art with total abandon. By the time she died aged 39 in 2006, taken by ovarian cancer, she'd left behind a body of ultra-simple, mega-bold, hyper-colourful painting that functions as a testament to a life lived honestly, independently and very, very hornily.
Water, for Rawles, is never neutral. In the lineage of scholars like Christina Sharpe and Saidiya Hartman, the artist considers water to be a charged site and vessel for memory. Along with references to texts by Audre Lorde, Octavia Butler, and Albert Camus, among others, she presents this philosophical grounding as a way to consider the inevitability of change and how transformation can inspire hope. "What is the artist's role in moments of crisis?" she asks.
I love how welcoming the Bay Area arts community is. As a self-taught artist, I didn't have much guidance on how to initiate my work being shown in galleries. I started by showing up at openings hoping to meet and engage with other artists. I've noticed how kind and supportive everyone has been, and I've made genuine friendships along the way,
Earlier this year, we took a tour of the V&A East Storehouse, the Victoria and Albert Museum's vast new complex in East London. This week, it opens the David Bowie Centre, a space dedicated to the music icon. It is the permanent repository of thousands of items from Bowie's archive, which are on display and also available for personal study. Ben Luke explores the displays at the centre with the curator, Madeleine Haddon.
In Bless Babel, each painting builds around a singular central niche, suggesting the absence of a subject. Confronted with this vacancy, the viewer finds themselves at the center of Kleberg's geometric abstractions. Influenced by architectural and ritualistic spaces, the works in Bless Babel investigate the tropes through which conception is framed by institutional or personal belief. Kleberg's paintings are not interested in objective truth, but rather in how belief transforms our relationship to space and objects.
