“Roy Lichtenstein: Like New” Whitney Museum of American Art, New York. @whitneymuseum Roy Lichtenstein (1923 - 1997) was an American artist and a key figure in the Pop Art movement and beyond. He grounded his profoundly inventive career in imitation —beginning by borrowing images from comic books and advertisements in the early 1960’s, and eventually encompassing those of everyday objects, artistic styles, and art history itself. At first, Lichtenstein had been producing paintings composed in the shadow of Abstract Expressionism —canvases consisting of stripes, wavelike ribbons of bright and lusciously swiped pigment. The artist had been preoccupied with reaching the top since the mid 1950’s, but nothing he did had attracted enough notice. Then on a June day in 1961, Lichtenstein paid unusual attention to a book his young son Mitchell had. It was titled: “Walt Disney’s Donald Duck: Lost and Found”. He was struck by an inside-the-book illustration of Donald Duck and Mickey Mouse fishing in a cove. His son pointed to that illustration and challenged his father by saying, “I bet you can’t paint as good as that, eh, Dad? To prove a point to his son, Lichtenstein painted “Look Mickey” (1961) which became his definitive breakthrough piece. This became the big idea of a lifetime for the artist and his emancipation from New York’s burgeoning artistic world. He adopted the aesthetic language of these comic stripes, bubble-gum wrappers, and Ben-Day dots of children’s publications that launched his career as a pioneer of the Pop Art movement. “I realized that this was a marked change from prevailing taste, because, although almost anything seemed to be fair subject matter of art —commercial art and particularly cartooning were not considered to be one of those possibilities.” The notion of presenting a cartoon image so it looked like a cartoon was more than outrageous; it was subversive. The result stunned the artist himself. As someone with more than 20 years of training and preparation to be an artist, Lichtenstein had never considered commercial art or illustration on the same plane as high art. In a moment when the paintings of Jackson Pollock, Willem de Kooning, and Franz Kline were sanctified totems, Lichtenstein developed an innovative artistic language that became a weaponized attack to every reigning convention that cloaked high art in solemnity and angst. He was responsible for an earthquake that shook the landscape of Modern Art so dramatically that its tremors became an international phenomenon with works based on imagery that had no business being associated with fine art. Lichtenstein proved that commercial art possessed a bold, iconic visual language just as valid for museum walls as classical painting or Abstract Expressionism. His work showed that high art and everyday culture are not mutually exclusive, and that originality can emerge from deliberate appropriation and transformation. #RoyLichtenstein #PopArt #ArtExhibition #WhitneyMuseum #NYC

“Krasner & Pollock: Past Continuous” Metropolitan Museum of Art, New York. @metmuseum Lee Krasner (1908 - 1984) and Jackson Pollock (1912 - 1956) were an influential Abstract Expressionist power couple whose personal and professional lives intertwined from their meeting in 1941 until Pollock’s death in 1956 in East Hampton, New York. They both met in New York City in the winter of 1941 while preparing for the same group exhibition organized by artist John Graham entitled “French and American Painting” which was held at an antique furniture store in Midtown Manhattan. The show paired work by emerging New York artists alongside established modern French masters like Henri Matisse and Georges Braque. In 1930, Pollock arrived to New York to live with his two brothers Charles and Sanford, to become an artist. He was determined to learn and absorb as much as he could to develop his skills. His artistic training received the influence from Thomas Hart Benton, Albert Pinkham, Pablo Picasso, and Jose Clemente Orozco. Another influence in Pollock’s work was the Navajo Indian sand painters who used sand color pigments horizontally on the field for healing purposes and that were erased after. In 1926, Lee Krasner moved to Manhattan from Brooklyn, to immerse herself in the city’s vibrant art scene and attend the Cooper Union Women’s Art School. Jackson Pollock, while a creator of impressive and striking works, was an introverted person. It is Lee Krasner who introduced him to an important group of artists, gallerists, and critics that would expand his network. Pollock and Krasner married in 1942. Krasner had the idea to move to the Hamptons in an attempt to move out of the noise and chaotic city, so the couple bought their 1.4 acres house and studio with the sponsorship of Peggy Guggenheim. From the very first time Krasner saw Pollock’s paintings, she felt the explosive energy emanating from the canvas. She felt inexplicably overwhelmed by his genius —she fell in love with his work and fell in love with him. From that moment on she devoted her energy to make sure other people felt about his work the way she felt. Their artistic relationship was marked by similar interests, influences, and a profound respect for each other’s work. They had, however, separate visions and aesthetic pursuits. Krasner had a rigorous training, having studied in the Art Students League, the National Academy of Design, and under the influential teacher Hans Hoffman. She developed a level of confidence and assurance about herself but also made her very critical about her work. She changed her approach frequently which also stopped her from developing a strong characteristic style. The relationship between Lee Krasner and Jackson Pollock is widely considered one of the most consequential, intense, and transformative relationships in modern art history. They directly shaped each other’s artistic paths. Krasner brought deep knowledge of European Modernism and Abstraction to Pollock, while Pollock’s breakthrough drip technique later helped liberate Krasner’s own gestural style. Krasner acted as Pollock’s primary champion, critic, and manager; introducing him to key figures like Peggy Guggenheim and helping him build a steady floor beneath his feet. #art #KrasnerPollock #PastContinuous #MetMuseum #NYC

European influence in the art of the Americas shaped visual culture and craftsmanship through a blend of imported styles, evangelization, and local hybridization. Early colonial art heavily prioritized European artistic conventions. In Spanish territories in the Americas, the Catholic Church drove a vast artistic production. Driven by the Counter-Reformation, painting, sculpture, and architecture were used as primary tools for missionary work. In the Spanish Americas, especially in Peru and Mexico, art frequently exhibited a rich hybridization of European forms mixed with Indigenous materials, iconography, and cultural symbols. #ColumbusDay

The queen of the #ChinaOpen, Zheng Qinwen! 👏🏻👏🏻👏🏻

Nowhere, Sarah Michelson (UK) Performance, 2024. MoMA The Museum of Modern Art, New York. Donald and Catherine Marron Family Atrium. October, 2026. “Sarah Michelson: Nowhere” @MuseumModernArt Sarah Michelson (b. 1964 in Manchester, UK) is a British choreographer and dancer based in New York known for her innovative works that synthesize movement, venue, sound, and even natural environment. She is always seeking to better understand the changing aesthetics of dance, and how the history and cultural influences in dancers’ training affect the body in motion. Michelson studied dancing since childhood and continued her lessons during her years at London University’s Goldsmith College, where she earned a BA in Literature in 1985. Michelson’s choreographies and performances transform spaces in the most extraordinary ways. Every detail is under the control of her imagination, some parts having less to do with dance than with the strategies of art installation, in which objects and bodies are interchangeable containers of pleasure, memory, even anthropological narratives. Michelson’s work is not a series of movements, a choreography, or a simple performance. She is able to imbue movement with meaning. Her use of duration and repetition transform the notion of the ephemeral into a complex construct that lingers in the memory. #Dance #Art #SarahMichelson #MoMA #NYC

Novak Djokovic is playing like this at 39 years old. Out of this world.

Gaia, Luke Jerram (UK) Cameron Balloons: helium balloon base covered in panels of printed fabric. High-resolution NASA imagery of the Earth's surface (from NASA's Visible Earth project, at 120 dots per inch) is printed onto fabric panels. These printed fabric panels are stitched together to form the large 6-to-7-meter (20-to-23-foot) sphere. The internal structure is lit from inside to create a glowing effect when installed in dark spaces. 2018. “Gaia by Luke Jerram” Cathedral of St. John the Divine, New York. @StJohnDivineNYC Luke Jerram (b. 1954 in Stroud, England) is a multidisciplinary artist, whose practice mines scientific research, ecology, and community building and results in works ranging from discreet objects to large-scale installations. Jerram earned a First Class Honors Degree from the University of Wales Institute Cardiff (now Cardiff Metropolitan University) in 1997, where he specifically focused on sculpture and performance art. He also spent six months working in 1996 studying at St. Lawrence University in Canton, New York. His performance art training deeply informs his current practice, specifically his approach to turning the general public into active “performers” within his installations. Rather than relying purely on formal artistic training, Jerram’s work relies on immersive, science-oriented research residencies and collaborative field studies like his Research Fellowship at the Centre for Fine Print Research (CFPR) at the University of West England and other fellowship programs within their Faculty of Health and Applied Sciences. This scientific approach and devotion to observation are the core foundation of Jerram’s artistic practice. He has fused data with design, relying heavily on rigorous scientific consultation and advanced technology to push the boundaries of public engagement, education, environmental awareness, and human perception. Jerram uses highly technical scientific data sets to create colossal, immersive encounters with celestial objects, allowing the public to closet inspect phenomena that are otherwise impossible or dangerous to witness. The artist’s interest in observation is also deeply personal; he is color-blind —which fuels lifetime fascination with how the human brain and eye process the world. Jerram’s work uses scientific truth to anchor discussions on contemporary global crises. By presenting accurate representations of Earth, like Gaia, he purposefully wakes the “overview effect” —the cognitive shift and sense of fragility astronauts experience when viewing Earth from space. #ContemporaryArt #NYC #LukeJerram

"Calendario del Cuerpo Huaca" (Huaca Body Calendar) Exhibition by the Peruvian artist Veronica Penagos. Centro Cultural Ccori Wasi. Universidad Ricardo Palma. @urpalma Veronica Penagos Gallart (b. 1990 in Lima) is a Peruvian architect and visual artist who develops a multidisciplinary practice centered on the body —understood as a living territory traversed by movement, memory, and transformation. She holds a Masters degree in Research in Art and Design from the University Center for Design and Art of Barcelona (EINA) and the Autonomous University of Barcelona (UAB), Spain, and a degree in Architecture and Urban Planning from the Pontifical Catholic University of Peru (PUCP). Penagos identifies through an intensive research process in her work, the repetition of events, episodes, and elements throughout Peruvian history and the history of neighboring civilizations that would make us understand our time and place within the universe. Her work focuses on an interpretation of Peruvian history through collective memory and the unconscious, establishing connections between ancestral worldview, cosmology, and significant figures, elements, and popular imagery, with the aim of suggesting a new sense of identity. Penagos uses her artistic practice to somehow put together a different lecture of Peruvian history that reunites different meanings, beliefs, and customs within a collective memory of the society as an alternative to a fragmented narrative. Throughout these different perspectives and layers the artist includes in her creative process, the final result becomes a powerful message of unity in spite of Peruvian cultural diversity. Penagos' work finds elements and iconographies from different periods of Peruvian history to create a consistent aesthetic that speaks of contemporaneity with a strong sense of belonging; of individuality with a strong sense of collective identity. The work of Veronica Penagos presents itself as a continuous celebration of the syncretism still present in Peruvian art. #peruvianart #contemporaryart #peru

“Codesido” Museo de Arte de Lima, MALI. @MuseodeArteLima Julia Manuela Codesido Estenós (1883 - 1979) was a Peruvian painter, printmaker, and educator whose work celebrated the richness of indigenous culture and life. Codesido was one of the most representative artists of the Peruvian aesthetic movement, popularly known as Indigenismo. The Indigenous art movement emerged in Peru during the early 20th century as a cultural and political effort led by intellectuals and artists to reject European Academic styles and center Andean identity. It was a cultural awakening that sought to represent everyday life motifs and scenes of Andean and indigenous people in a dignified way. It was a radical artistic proposition for the time, that attempted to bring art into political life and to transform society. Codesido's work, of expressive style, emotional content, and hinted abstraction, gained fast popularity in Peru and abroad, outranking her male colleagues for its surprising strength and its unique storytelling. Codesido informed her creative process by traveling extensively to all corners in Peru. She developed a unique pictorial language that aimed to redefine national identity by embracing its native roots. #Codesido #PeruvianArt #MALI #Art #Peru

Un fascio di luce ovattata accarezza il tripudio di stoviglie che incorniciano la donna intenta nelle mansioni domestiche. Nelle mani di Giuseppe Maria #Crespi anche la quotidianità diventa arte. 🎨"La sguattera", 1725 ca., #Uffizi 👉 uffizi.it/video/la-collezion…

Jude Mikulencak! #ProjectRunway

Qinwen Zheng was asked how her personality has changed since a few years ago, ‘Sometimes people just don’t like when you speak the reality. They like more when you speak fake stuff. That’s not how I am’ “How are you different personality-wise from two years ago?” Qinwen: “Well I would say deep inside me I haven’t changed that much. The thing is after an injury, because I’m not doing so well, so I try to learn a bit to hide my character. To not show that much. When you don’t have a good result, people just judge you. But I’m just the same person. It doesn’t matter if I win or if I lost. I think the same. I think it’s important to be a good person and stay humble in life. Sometimes people just don’t like when you speak the reality. They like more when you speak fake stuff. That’s not how I am. I’ve become better. I’m more open compared to 3 years ago. But the base has never changed. I’m still myself.” ❤️ (via US Open Press)

The Palazzo Medici Riccardi The Palazzo Medici is a 15th century Renaissance palace in Florence, built for the Medici family who dominated the politics of the Republic of Florence from 1434 to 1737. Cosimo de' Medici originally asked the architect Filippo Brunelleschi (1377 - 1446) to create a design for the new family palace in Florence in 1444. However, Cosimo rejected the proposal because he felt it was too grand and ostentatious, fearing it would invite jealousy and envy from his fellow citizens. That same year, Cosimo commissioned the architect Michelozzo di Bartolomeo (1396 - 1472) to build a more sober and understated palace. Michelozzo's completed design became a masterwork of early Renaissance civil architecture. His design featured a blocklike, three-story design with graduated rusticated masonry and a massive overhanging cornice. The ground floor uses heavy, roughly hewn (rusticated) stones to create a strong, fortress-like base. The masonry becomes progressively smoother and more refined on each higher story. Horizontal stringcourses separate the three distinct levels, emphasizing width over height. A bold, 10-foot-high classical overhanging cornice caps the roofline, replacing traditional medieval crenellations and unifying the building's scale. The Republic of Florence seized the palace in 1494 after the Medici family was temporarily expelled. Duke Cosimo I moved the primary family residence to the Palazzo della Signoria (Palazzo Vecchio) in 1540. Marquis Gabriello Riccardi bought the palace in 1659 and doubled its length along Via Larga (now Via Cavour). The Tuscan state acquired the building in 1814, and today it serves as the seat of the Metropolitan City of Florence alongside its function as a museum. The Palazzo Medici Riccardi is an important example of Renaissance architecture, it served as the first major private palace and set the architectural standard for civil residences across Europe.

THERE IT IS 🇵🇪👏 Ignacio Buse becomes the youngest champion in @WSOpen history!

“I like to have the target on my back.” With the U.S. Open main draw beginning on Sunday, Aryna Sabalenka, the world’s top-ranked women’s tennis player, remains in prime position to fulfill her wildest aspirations: a third straight U.S. Open victory. If she wins, despite underperforming at other Grand Slams this year, she would become the first player since Serena Williams to win the tournament three times in a row and just the third woman in the modern era to do so. TIME recently asked Sabalenka who she saw as her biggest competition. Read more here: time-magazine.visitlink.me/r…

“Botero in New York” Sotheby’s New York. @Sothebys After settling in New York in 1960, Botero entered a city still marked by the achievements of Abstract Expressionism, while a younger generation - including Andy Warhol and Roy Lichtenstein - began to make advertising, comics, and consumer goods the material of painting. Botero surrendered to neither abstraction nor traditional Pop. He retained figuration and the measured order of Renaissance and French still life painting, yet tested both against a new economy of flat color, sharp contour, and compressed space. Fernando Botero Angulo (1932 - 2023) was a Colombian painter and sculptor famous for portraits, sculptures, and still lifes that evoke everyday scenes with recognizable fulsome figures. His iconic style features inflated, oversized characters, and objects offering a blend of whimsy, bold colors, and political critique. Born in Medellin, Botero was the son of a seamstress and a muleteer. He grew up during Colombia's undeclared Civil War, known as La Violencia (1948-58). This traumatic environment and the surrounding Baroque architecture profoundly shaped his art, later inspiring both his playful political satire and his somber series documenting the nation's conflict. Botero sold his first piece of art at 16, and it was published in the Sunday supplement of the popular Medellin daily El Colombiano. He worked as a newspaper illustrator while still in high school. During the first half of his career, the artist gained reputation for humorous refashioning of Renaissance masterpieces to satirize the pomposity of different institutions of power in Latin America. Botero's aesthetic blends classical compositions and modern irony. His creations defy traditional norms of beauty and proportions, prompting viewers to confront themes such as excess, societal structures, and cultural identity. Botero became one of the most easily recognizable artists in the world. His work invites us into a universe where proportion is stretched, space is reimagined, and beauty is redefined through exaggeration and grace —embodying both the humor and tragedy of human existence. #Botero #art #Colombia #Sothebys