Good morning, and to those of us in the United States, happy … long weekend!
| Good morning, and to those of us in the United States, happy … long weekend! Start your Monday off with a romp into Roxanne Jackson’s fantastical world of ceramic mermaids and chimeric sea “monsters” who, Seph Rodney writes, may not actually be monsters at all. In the news, Australia’s sudden decision to drop its Venice Biennale artist and curator has sparked outcry, high-profile resignations, and open letters. Staff Writer Maya Pontone has the story. Meanwhile, in New York, Reviews Editor Natalie Haddad examines the perplexing logic of Raoul De Keyser’s paintings, which she writes “create a drama of looking by doing nothing but being taciturn about their own being.” Read on for more, including the censorship of a 1930s Philip Guston anti-fascist mural in Mexico that’s finally back on public display. — Lakshmi Rivera Amin, Associate Editor | | |
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| | Because the waywardness of his paintings is a product of its unspoken logic, his marks and variations are performing precisely the right roles. | Natalie Haddad |
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SPONSORED | | | | | This exhibition at Fu Qiumeng Fine Art offers a dynamic exploration of East Asian art traditions through assemblage, calligraphy, and ink painting. Learn more |
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LATEST NEWS | | | In Mexico, Philip Guston’s long-neglected fresco, “The Struggle Against Terrorism” (1934–35), has finally been restored. Australia's decision to drop Lebanese-born artist Khaled Sabsabi as its representative for the 2026 Venice Biennale has ignited an uproar. |
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FROM OUR CRITICS | | | Marina Perez Simão systematizes nature’s motifs and distills them into interlocking volumes and color bands in paintings as cerebral as they are sensuous. | Ela Bittencourt |
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| | Maybe Jackson's ceramic "monsters" are just creatures who look like they shouldn’t belong — and in her world-building Jackson has made a place where they do. | Seph Rodney |
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FEATURED OPPORTUNITY | | apexart – 2025–26 International Open Call | | Soliciting 500-word proposals for group exhibitions presented online and anywhere in the world in 2025–26. Four winners receive up to $11,000 in budget. Curators, artists, and creative others with a compelling exhibition idea are encouraged to consider.
Deadline: March 1, 2025 | apexart.org
See more in this month’s list of opportunities for artists, writers, and art workers!
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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