By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
Art
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With a Denver Location, Meow Wolf Expands Its Immersive Schtick
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
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A San Francisco Muralist Painting “Latino Culture In All Its Beauty”
Josué Rojas came from El Salvador as a toddler, and his family settled in the Mission.
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Can Mummified Cats Help Unravel the Mysteries of Ancient Dyes?
The intricate patterns and strategic colors of the linens used on mummified remains have only begun to be understood by humanists, museum specialists, and chemists working together.
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When Disney Declared War on Deutschland
Walt Disney built his media empire animating fairy tales; he did not start making films set in a Nazi-occupied Europe by choice.
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Whimsy and Personality in Early American Photography
An exhibition of cabinet cards at LACMA showcases marketing and personal panache.
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Required Reading
This week, the scourge of immersive exhibitions, the popularity of anti-vax deathbed videos, the pregnant man emoji, Chomsky on Afghanistan, Met Gala commentary, and more.
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Objects that Help Tell the Story of Gertrude Stein and Alice B. Toklas’s Romance
The 40-year relationship that unfolded between Toklas and Stein became the bedrock of Paris’s artistic avant-garde.
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Women Artists Are in the Spotlight in West Palm Beach
Fifty works, all created by women, are brought together across time and media as the Norton Museum of Art reckons with the art world’s patriarchal past and present.
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A Collector of Antiques Asks: “Can Something Be Racist and Also Be Beautiful?”
In the Blactiquing Space, curator and collector Kevin Jones presents deeply fraught objects with emotion, connection, and care.
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Tomashi Jackson Rediscovers Long Island’s Beleaguered Past
Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
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Nikolai Astrup’s Enchanted Norway
There is not a hint of psychological trauma in Astrup’s art, despite the parallels in his own experience to that of his countryman Edvard Munch.