The Bennett Prize, the largest art award offered to women working in the field of figurative painting, announced its winning artist today in an exhibition unveiled at the Muskegon Museum of Art, in western Michigan.
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Dallas-based Amy Werntz — also a finalist for the second Bennett Prize in 2021— took home the top honor, joining previous winners Ayana Ross, Shiqing Deng, and Aneka Ingold. Her strikingly lifelike paintings depict elderly people, mostly women, in everyday scenarios: eating at a diner, shopping, sitting at a café, or bundled against the elements.
“You’re brought into an intimate moment with them… I feel that it validates the elderly,” says Dr. Elaine Melotti Schmidt, an art collector who co-founded The Bennett Prize along with her husband, Steven Alan Bennett.
For the first time in The Prize’s history, the winner was determined by an all-female jury. Schmidt was joined by Margaret Bowland, painter and faculty member at the New York Academy of Art; Angela Fraleigh, painter and professor at Moravian University in Bethlehem, Penn.; and Gloria Groom, Winton Green curator of 19th-century European painting and sculpture at the Art Institute of Chicago.
The jury was also struck by Werntz’s personal statement, in which she wrote that she intended to use the prize money to fund a new painting series which shifts the viewer’s perspective from that of an interlocutor to an observer.
“Certainly, people can do whatever they want with the money. But she had thought about how her painting style would evolve,” Schmidt says.
The Prize entails $50,000 and a solo show that will travel in conjunction with work from all the finalists for the fifth Bennett Prize, slated for 2027. Likewise, Deng, the winner of the previous Bennett Prize, will have her work shown alongside this year’s 10 finalists in a traveling exhibition. After showing at the Muskegon Museum of Art from May 15 to Aug. 24, the exhibition will travel to the Arnot Art Museum (Elmira, New York), the Customs House Museum and Cultural Center (Clarksville, Tenn.), the Bo Bartlett Center (Columbus, Ga.) and Studio Incamminati (Philadelphia).
Nicole Santiago, of Williamsburg, Va., won $10,000 as the runner-up. The judges were impressed by the dense environments that make up her work — figures in dimly lit spaces crowded by things, like party decorations, dirty laundry, bottles and cans, and iPads and iPhones.
“I’m always looking at the construction of a painting — I’m thinking about the compositional structure, how it holds together, or doesn’t,” Fraleigh says. “I always talk to my students about how you have to fully cook the cake before you put the icing on it.”
Pedagogy in general is important to this year’s Bennett Prize panel. Fraleigh and Bowland both teach art students; Schmidt is a retired teacher. All three agree that, in 2025, it’s not enough to learn to paint — artists must aggressively promote themselves in a capricious and trend-obsessed market. That’s historically been harder for women.
“I’d hoped so much that, by the time my students came along, all the things that happened to me weren’t there. And I have found that not to be true at all. My female students will stand back and don’t believe they’re the most important person in the room. My male students do,” Bowland says. “So, God bless the Bennetts. I mean, there are very few people who have the power to move that needle.”
Bowland’s paintings were some of the first to become part of what is now The Bennett Art Collection of Figurative Realists, focusing, like the competition, on female figurative artists. Fraleigh’s work is also represented in The Collection after the artist sent Schmidt and her husband a catalog in the mail, out of the blue. The Bennetts were not just impressed by Fraleigh’s work but by her initiative and gumption.
“In our case, that was very effective,” she recalls.
To address the challenges of self-promotion and navigating a brutal market, all 10 Bennett finalists attend four group sessions with a professional coach to address the ins and outs of the art market. As part of the first-place prize, the winner is also provided with private consultation from the coach, should they desire it.
As an added bonus, because of the nature of The Prize, the Bennett finalists also have a built-in network of peer artists to consult and commiserate with. Schmidt has heard that “little subgroups” of finalists tend to keep in touch.
“The Prize is supposed to be formative, not just, ‘Here’s money; good luck.’ We’re trying to help people develop their careers,” Schmidt says.
In 2018, Schmidt and Bennett endowed The Bennett Prize at the Pittsburgh Foundation with $3 million. The first Bennett Prize competition occurred the following year. Held every other year, the competition seeks to boost the careers of women painters who have not yet achieved full professional recognition. In total, the Prize’s finalists and three winners so far have won 19 additional awards and been featured in over 50 national publications. Many have become represented by galleries, participated in residencies, and sold pieces to museums and other permanent collections.
After Thursday’s announcement, Werntz’s work, as well as that of her fellow finalists, will be displayed in the Muskegon Museum of Art’s new Bennett Schmidt Pavilion. The pavilion, which opened in February, doubles the museum’s footprint and carries a commitment to showing the works of female artists across mediums. The pavilion is currently showing more than 60 pieces from The Bennett Collection; ultimately, the museum will become the permanent steward of some 150 paintings from The Collection.
Through The Prize and the new pavilion, Schmidt and Bennett’s influence will continue to ripple across generations of women artists. It certainly altered the course of Bowland’s own career.
“Having the Bennetts champion my work was one of the largest facts of my life. After they did, many other people came on board,” Bowland says. “The fact that they stayed by me through thick and thin has meant everything to me.”
For full details on how to apply for The Bennett Prize, please visit: thebennettprize.org.
CASETiFY, a leading developer of tech accessories for more than a decade, has announced the details for its much-anticipated partnership with Japanese artist and cultural icon Takashi Murakami.
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Murakami and CASETiFY teased “TAKASHI MURAKAMI x CASETiFY: MR. DOB” at ComplexCon in Hong Kong in March, billing it as CASETiFY’s most ambitious collaboration with an artist to date. The complete collection officially launches worldwide on April 11, 2025.
“When Takashi-san and I first met, we talked for hours about making art part of everyone’s daily digital life,” says CASETiFY CEO and co-founder Wes Ng. “What followed was months of close collaboration, pushing the boundaries of what’s possible when you merge iconic art with everyday tech. This collection is the result of that shared vision.”
The drop highlights the launch of CASETiFY Travel in December 2024, marking the brand’s expansion into lifestyle accessories beyond the world of tech. Murakami x CASETiFY is the first artist collaboration to feature the new travel line’s flagship offering, the Bounce Carry-On suitcase, which adapts CASETiFY’s proprietary shock-absorbing technology to full-sized cargo.
The Murakami x CASETiFY partnership is also the inaugural installment in the Hong Kong-based company’s new CASETiFY iCONS series, which invites premier brands and creative luminaries to develop limited-edition pieces complete with experiential moments and unexpected product innovations unique to each collaboration.
CASETiFY is no stranger to the world of fine art. A partnership between the tech accessories company and the Louvre Museum imbues laptop cases, magnetic wireless device chargers, and Snappy™ Cardholder Stands with the likenesses of the Mona Lisa, Venus de Milo, and Ingres’ Grande Odalisque. Earlier this year, CASETiFY debuted its Andy Warhol series, which adapts iconic motifs like the Banana and Campbell’s Soup Can into collectible mobile device cases.
Takashi Murakami is a logical successor in that lineup and the ideal figure to headline CASETiFY’s iCONS series. For more than 30 years, the artist has championed a visual language predicated on the smashing together of dichotomies, an approach he codified with the publication of his “Superflat” theory in 2000. Murakami’s theory describes a Japanese visual art tradition of two-dimensional imagery that privileges depth of color over realistic dimension, and relates this to the flattening of distinctions between fine and popular art that has pervaded in his homeland since the 20th century. Superflat has since become shorthand for Murakami’s era-defining style, which draws inspiration from manga and anime as much as traditional Japanese art forms.
MR. DOB first appeared in Murakami’s work in 1993 and soon became a hallmark of the artist’s idiomatic vocabulary. The character was devised as a comment on the ubiquity and influence of commercialism and an answer to pop culture figures like Doraemon and Mickey Mouse, but has since has become a vector for Murakami’s exploration of other bifurcated themes like innocence and corruption. Today, MR. DOB is seen as an avatar for the artist in its many recurrences and evolutions throughout Murakami’s career.
Murakami’s vibrant aesthetic and knack for coining distinctive characters has long made his work ripe for collaborations. Past partnerships have run the gamut of brands from Crocs and UNO playing cards to Supreme and Louis Vuitton, and he’s teamed up with the likes of Kanye West, Future and Billie Eilish to provide visuals for album covers and music videos. But despite Murakami’s enduring prevalence in pop culture, the Murakami x CASETiFY collection is one of the most significant commercial collaborations centering MR. DOB to date.
“MR. DOB has been my artistic companion since the beginning of my career, representing both my evolution as an artist and my commentary on contemporary culture,” says Murakami. “Through this collaboration with CASETiFY, I’m excited to bring MR. DOB into people’s everyday lives in an entirely new way.”
When it comes to turning everyday carry gear into a personal statement, it’s hard to top what CASETiFY has to offer. Customization is at the core of the company’s brand, and this collection is no exception. The MR. DOB Bounce Carry-On, the cornerstone item in the lineup, can be personalized with the owner’s initials in one of two fonts designed just for CASETiFY: the clean, minimalist DOT font or the bold, geometric SKYLINE font. The luggage’s striking design seamlessly merges this custom monogram with MR. DOB graphics against the eye-catching cobalt blue, cherry red, or matte black background of the Bounce Carry-On’s sleek shell.
If the devil’s in the details, then the details of the collection’s phone cases do not disappoint. Another unmissable Murakami motif, the smiling flower, is integrated into the case’s construction, and select variations can also be personalized with the owner’s initials in CASETiFY’s proprietary DOT and SKYLINE fonts. A truly one-of-a-kind detail, however, is reserved for a single, ultra-limited case design: The ring element that encloses the phone camera housing is white with blue text — a unique variation upon CASETiFY’s signature white-on-black detailing bearing the brand’s wordmark, exclusive to the CASETiFY iCONS series.
The MR. DOB Collectible Headphone Cover presents a wearable option, with MR. DOB-style ears (complete with CASETiFY/Murakami branding) that affix to the headband of Apple AirPods Max headphones, while MR. DOB Collectible Earbuds Case casts the character as a full-body figurine that houses an AirPods charging case. Die-hard collectors might seek out the MR. DOB Phone Case Dangler figurines in one of three colorways — packaged in a blind box to elevate the thrill of the chase — or the MR. DOB Snappy™ Trading Card Holder, a standout accessory to protect and display the most precious additions to any card hunter’s vault.
“From our first-ever artist-designed personalizable suitcase to the special white camera ring reserved for our iCONS program, every element of this collection pushes creative and technical boundaries,” says Ng, CASETiFY’s CEO. Any Takashi Murakami fan wanting to bring some of the artist’s kaleidoscopic flair to their most reached-for items will find just what they’re looking for in this singular collection.
The CASETiFY x TAKASHI MURAKAMI: MR. DOB collection will be available in very limited quantities through CASETiFY’s online platform and select retail locations throughout South Korea, the United States, Hong Kong, China, Taiwan, and Japan. Customers worldwide can preview the full collection and join the waitlist at casetify.com/co-lab/takashi-murakami for exclusive early access before the global launch on April 11, 2025.
In this epic collab between two titans of prestige, entertainment behemoth Roc Nation and luxury bookmaker Assouline offer up the chance to own a historic work of art—a sleek tome that embodies Shawn “JAY-Z” Carter’s enduring blend of artistry and enterprise.
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A thematic journey through rare insights, illuminating essays, and thousands of artifacts spanning JAY-Z’s 25-year career, The Book of HOV: A Tribute beckons dedicated fans and collectors alike. The impressive Ultimate Edition, hand-bound and printed on luxuriously thick pages, comes nestled in an embossed clamshell case, complete with gloves and a signature canvas tote bag.
It’s no wonder the New York Times refers to Assouline as “the Birkin bag of the book world.”
If you were one of the 600,000 fans who visited Roc Nation’s groundbreaking exhibition at the Brooklyn Public Library in 2023, these pages will transport you back to those hallowed halls that brimmed with the lifeblood of a cultural legend. For those just beginning your journey through this legacy-in-artifacts, prepare to be awed by the masterful work of the curators, documentarians, and craftspeople who brought this project to life.
Among the book’s nearly 700 images underscoring every milestone, roadblock, and metamorphosis of JAY-Z’s storied career, you’ll find photos of the iconic Baseline Studios, original recording masters, custom stage outfits, art pieces like Daniel Arsham’s HOV Hands, magazine covers, VIP credentials, even the guitar Hov played during his tongue-in-cheek performance at Glastonbury.
The broader theme of manifestation—how JAY-Z shaped his own narrative, set his intentions, and built an unshakable legacy—resonates through the book’s eight sections, whose rap-lyric titles will delight versant fans.
Each one showcases a distinct pillar of JAY-Z’s influence, beginning with “A Work of Art,” which explores his deep connection with the art world and his impact on the cultural landscape. Next comes a vivid encapsulation of the legendary “Baseline Studios” era—a time when Hov’s pursuit of authenticity and creative freedom reached new heights with the iconic albums The Dynasty: Roc La Familia, The Blueprint, and The Black Album.
“Did It All Without a Pen” delves into the unmatched poetic prowess that earned JAY-Z induction into the Songwriters Hall of Fame—how he drops triple entendres like breadcrumbs, draws from conversations in real time, and pulls forgotten moments from history, words streaming like a divine gift from mind to music, no pen, no paper.
“Business, Man” chronicles JAY-Z’s relentless hustle as he blazed new trails in music and entertainment with Roc Nation, revolutionized sports management with Roc Nation Sports, launched music streaming platform TIDAL, debuted the 40/40 Club, and forged his status in luxury wine and spirits with D’USSÉ Cognac and Armand de Brignac Champagne.
JAY-Z’s philanthropic initiatives—from his public advocacy to his behind-the-scenes activism to his role in Roc Nation’s historic partnership with the NFL—take center stage in “Win-Win,” culminating with his continued tenure as adviser and Emmy-winning producer and director of the Super Bowl Halftime Show.
Inspired by JAY-Z’s apparel company Paper Planes and the powerful imagery of intention-setting, “So Fly” documents the exhibition’s whimsical, large-scale paper plane installation in partnership with NYC schoolchildren.
“Hov Did That” details JAY-Z’s culture-shifting events, from the Made in America Festival to Glastonbury to his sold-out eight-night residency at the opening of Barclays Center in Brooklyn. A triumphant cache of artifacts follows—concert tickets, setlists, his Rock & Roll Hall of Fame statuette, his Cohiba Comador cigars, the Yankees cap he made “more famous than a Yankee can”—two lifetimes’ worth of ephemera highlighting one man’s steadfast odyssey.
“Manifestations,” with its striking stills bathed in cobalt and punctuated by weighty quotes and writings, is a fitting final chapter, closing out this decades-long time capsule bursting at the seams with the jewels in the crown, the intricacies, the flesh on the bone of this masterful artist’s life, achievements, and cultural influence.
Amid the burgeoning synergy of high-end luxury and hip-hop, JAY-Z carved out his identity as an industry titan, building his own ladder rung by rung so he could climb to new heights—not just to ascend but to elevate collaborators and emerging artists along the way. If there was a ceiling, he smashed right through it.
The legacy of Hov is eternal, and now you can hold its manifestation solidly in your two gloved hands. When you lift this signature blue masterpiece up onto your shelf, remember: “I might break but I don’t fold/Till I hold the sky in my hand/Yeah, that’s my goal.” Throwing up a HOV Hands sign in tribute is entirely optional.
The International Fine Print Dealers Association (IFPDA) Print Fair returns this spring to the Park Avenue Armory in New York from March 27–30, bringing together more than 70 international galleries and publishers to showcase fine art prints ranging from Old Masters to the ultra-contemporary.
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Organized annually by the IFPDA, the fair is the longest-running and largest art fair dedicated to prints and editions, and this year welcomes exhibitors from across the U.S., U.K., Canada, Europe, and Africa with an exciting new selection of works.
This year the fair continues its practice of engaging artists actively involved in printmaking to create site-specific installations for the fair. In the past, the fair has commissioned installations by Derrick Adams, LaToya Hobbs, Yashua Klos, and Swoon. For the 2025 Print Fair, Mickalene Thomas presents l’espace entre les deux (2025), two rooms that reflect the artist’s longtime interests in interiors and the art of printmaking, pushing the conceptual boundaries of both practices. The project was commissioned by the IFPDA and produced by the Jordan Schnitzer Family Foundation.
In l’espace entre les deux, Thomas, with assistance from Two Palms Press, has created paper-pulp sculptures, collages, cloth-like paper inspired by traditional Korean Joomchi, silkscreens, and three-dimensional cast paper works that evoke the feeling of entering one of Thomas’s iconic living rooms. Plants, lamps, carpeting, books, and furniture made of paper in many forms inhabit all planes of the space, but the artwork goes beyond mere trompe l’oeil illusions to suggest a third approach, a space between strict duplication of real life and static acknowledgement of the artifice at play.
“Speaking with Thomas during a studio visit at Two Palms, she said, “In art, we are often looking and draw inspiration from what is already being accomplished in nature. Trees, the origin of paper, exists in three-dimensions—so why can’t the creations we make out of paper mimic or replicate that same depth and dimensionality?”
While Thomas is famous for her depictions of the Black female form, her interiors are often unpeopled. Nevertheless, the sense of powerful, sensual ease that permeates her portraiture is present within these rooms, with the choice of décor and arrangement of objects suggesting not a single narrative but many layers of narrative possibility. We may not know the inhabitants of the space, but something of their sensibility is transmitted all the same.
“I am constantly contemplating ways to juxtapose different kinds of materiality,” Thomas said. “I’m fascinated by the possibilities of printmaking, how can I push beyond its traditional boundaries and explore new creative parameters.”
In l’espace entre les deux, Thomas’s playful, investigatory approach to material results in something akin to a living collage, which creates a new conversation with the selection of framed collages displayed within the space. She turns what others might see as a constraint—working primarily in paper—into a world of opportunity.
Mickalene Thomas will be speaking on Saturday, March 29th at the IFPDA Print Fair. The Fair takes place March 27-30 at the Park Avenue Armory. Tickets are available here.
About the writer: Angela Flournoy is an American writer. Her debut novel The Turner House won the First Novelist Award and was shortlisted for the National Book Award for Fiction, shortlisted for the PEN/Robert W. Bingham Prize for Debut Fiction, nominated for an NAACP Image Award, and named a New York Times Notable Book of 2015.
Established in 2015 in the Tennōzu neighborhood of Tokyo, and attracting industry professionals and art enthusiasts from both Japan and abroad, PIGMENT TOKYO has emerged as an art supply store specializing in the materials and tools used in traditional Japanese painting, such as mineral pigments, washi paper, and brushes. However, it’s more than just a store. Through the artistic resources, it serves as a platform for experimental and educational initiatives that connect manufacturers and creators, techniques, and knowledge across borders. As it approaches its tenth anniversary in the summer of 2025, we are taking a fresh look at what PIGMENT TOKYO represents.
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Located in Tennōzu, Tokyo, the facility embodies Warehouse TERRADA’s core principle of supporting creativity, which the company considers its top priority among its various art-related businesses. PIGMENT TOKYO was established in 2015 partly to secure and provide rare artistic resources from both Japan and abroad for the company’s conservation and restoration projects. However, it has since evolved far beyond the model of an art supply store and now has many functions: a laboratory where makers and users of art materials share knowledge and develop new products, an educational institution providing workshops and lectures for both art enthusiasts and corporations, and a hub for international exchange through artistic resources. In particular, it has strengthened its presence as a research institution that deepens understanding of art through artistic resources and contributes to the development of culture and arts.
Upon entering the space designed by Kengo Kuma, where slender bamboo canes delicately create dynamic wave patterns across the ceiling, visitors are first struck by the PIGMENT section (from which the store takes its name, which is pronounced “pigmon” as in French). The collection includes approximately 4,500 colors, featuring YInMn Blue—a new synthetic pigment, which was discovered by researchers at Oregon State University—as well as extremely rare and high-grade natural pigments such as lapis lazuli, and effect pigments manufactured with the latest technology. The store also stocks various types of nikawa (animal glue), which is essential in Japanese painting to fix pigments to surfaces, including PIGMENT TOKYO’s original formula. More than 600 types of paint brushes (including rare brushes that showcase Japanese craftsmanship), antique inkstones that could be considered artworks themselves, washi paper, and artistic resources used in traditional Western painting techniques are beautifully displayed (and many can be tested!). Whether you’re a professional, an amateur enthusiast of Japanese or Western painting, or even someone without a particular interest in art, visiting this place will inspire you and arouse your creativity.
What supports PIGMENT TOKYO’s high-level services from product selection to “soft” aspects such as workshops is none other than the presence of artists themselves. Here, current emerging artists having various specialties—actual users of the artistic resources—work as staff members, handling everything from customer service to planning and managing workshops.
As someone involved with PIGMENT TOKYO since the planning stages, Masayoshi Nojo, an artist who majored in Japanese painting at university, has helped create the store’s impressive displays. Through his customer service, which leverages his extensive professional knowledge, he has been able to build up his presentation skills as an artist. Nojo is an emerging talent who has expanded his activities both domestically and internationally with his progressive yet delicate artistic expression that fuses traditional Japanese painting aesthetics and techniques learned at university with various mediums, including photography. He says that his experience here has greatly benefited his artistic activities, particularly in developing his communication skills.
“While creating art is naturally the core of an artist’s activities, communicating about one’s work to various audiences is also an important job—something that isn’t really taught in Japanese art schools. At PIGMENT TOKYO, we get many international visitors, so we’re able to develop communication skills not only in Japanese but also in English. I also feel it’s a place where I can acquire the management skills that will be useful when I establish my own studio one day.”
Being aware of the challenges faced by actual users of PIGMENT TOKYO’s artistic resources often proves valuable. For instance, the shortage of journeymen in Japanese art has long been a serious problem; however, beyond that, other issues are gradually becoming more complex. These include regulations concerning pigments, changing ethical views on the use of animal by-products, and the impact of geopolitics on the sourcing of materials. Nojo, who says he sometimes discusses these issues with overseas customers, continues, “Rather than just worrying about these problems, being able to feed ideas and customer requests back to manufacturers of artistic resources and share challenges as an artist is one of the significant aspects of working at PIGMENT TOKYO. It’s one way we can contribute to the future of the art industry.”
Kei Saito, an artist who has been involved with PIGMENT TOKYO since its second year of operation, agrees with Nojo that “While there are many challenges, PIGMENT TOKYO, as a platform, can contribute significantly to new product development by manufacturers.” He adds, “Manufacturers are making considerable efforts to adapt to the changing times. This might lead to the next innovation in, or price democratization of, artistic resources. I believe PIGMENT TOKYO, by looking to the future, has the potential to promote positive evolution through collaboration between manufacturers and artists.”
Saito acknowledges that, through working at PIGMENT TOKYO, his own art has become more innovative. “In dealing with traditional cultural elements at PIGMENT TOKYO, I started thinking about what could be achieved by combining them with the latest technology. So, going forward, I’m hoping to develop new forms of artistic expression.”
Saito, who majored in oil painting at university and joined PIGMENT TOKYO when the Western painting section was established, handles customer service while also playing a key role in planning and managing workshop programs for corporations and individuals. As a workshop planner, Saito also speaks about how PIGMENT TOKYO deepens mutual cultural understanding.
“We have artists from overseas who come to learn about Japanese painting techniques and materials, and PIGMENT TOKYO artists have traveled to Bhutan to conduct workshops for local conservators on painting techniques using mineral pigments and nikawa. We also frequently receive workshop requests from Japanese companies wanting to build teams and promote artistic thinking. What we can say through these experiences is that by understanding the rationale behind artistic resources, people can deepen their understanding not only of their own culture and how it differs from others but also of other people. We also have to remember that using art materials inherently involves struggles and setbacks. So, given that it includes the experience of overcoming such challenges, I think PIGMENT TOKYO is one of the few places where people can encounter the essence of creativity through art materials.”
Finally, Nojo shared his thoughts on PIGMENT TOKYO’s future:
“PIGMENT TOKYO is like an individual artist. Keen to support it, everyone thinks about how to realize its potential and how it should develop. Now, about ten years since it opened, it’s finally starting to be appreciated by a wide range of people. It’s just like us young artists. I hope that new talents will continue to develop their skills here and let their creativity soar.”
Let’s take a look at five particularly noteworthy artistic resources handled at PIGMENT TOKYO:
1. Mineral Pigments (Iwa-Enogu)
PIGMENT TOKYO stocks approximately 4,500 colors of pigment. Mineral pigments are made from crushed natural minerals and have a history of nearly 1,500 years, having been introduced to Japan from China during the Kofun period. Among these, a symbolic color is gunjō, made from azurite. Historically, there are records of it being produced in Akita Prefecture, which had copper mines, but like lapis lazuli, it was extremely rare because of the demanding refining processes involved. Gunjō was used in the iris flowers of the Kakitsubata-zu national treasure by Ogata Kōrin of the Rinpa school. Mineral pigments include both traditional natural materials and shin-iwa-enogu (new mineral pigments) made from synthetic stones created chemically by adding metal oxides to glass. A major characteristic of mineral pigments is that their shade varies with particle size. Larger particles produce deeper colors, while smaller ones create lighter shades. Particle size is indicated by number, and PIGMENT TOKYO handles each color from the largest size 5 to the smallest size 13, and byaku (white).
2. TranTixxii® Color Titanium Panels
TranTixxii® is an innovative base material developed jointly over five years by Nippon Steel Corporation and PIGMENT TOKYO. Made of lightweight and robust titanium, it creates rich color variations through proprietary technology controlling its patina. Suitable for oil and acrylic paints, it serves as a durable support while expanding artistic possibilities by exploiting this colorful material’s hues. The material, which transcends artistic boundaries, is used for tiles and roofing materials. It has been used in the main hall of Tokyo’s Sensoji Temple, Kitano Tenmangu’s treasure house, and Frank O. Gehry’s Hotel Marqués de Riscal in Elciego, Spain. Such dynamic developments are unique to collaborations with manufacturers from other fields.
3. Nikawa (Animal Glue)
Nikawa is an essential material in Japanese painting, being used for mixing mineral pigments and sizing support materials such as washi paper and silk (dōsa-biki). Made from animal skins and bones, it comes in various forms including sticks, sheets, and granules. When used, it’s mixed with water and heated in a water bath to create nikawa liquid. PIGMENT TOKYO manufactures original nikawa liquid by selecting the most suitable glue available at the time. Nikawa sources include cows, fish, pigs, deer, and rabbits, each glue having its own characteristics—pig and fish glue are ideal for dōsa-biki (sizing) while ox glue is best for painting—allowing users to choose according to purpose and preference. With very few manufacturers remaining in Japan, ensuring a stable supply of nikawa is currently a challenge, but PIGMENT TOKYO supplements supply through traditional manufacturers and custom orders through unique supply routes established over time.
4. Brushes
A major characteristic of Japanese painting is the outlining of compositional elements. Even for simply painting lines, there are variations such as the sokumyō brush with its long, soft tip for gently expressive strokes; the sakuyō brush, whose firmness is ideal for applying both strong and weak strokes; and the mensō brush, whose overall thinness is suitable for detailed line work. Also, tools such as the karabake brush are essential for the mōrō-tai (blur style) technique developed by Yokoyama Taikan and Hishida Shunsō under Okakura Tenshin’s guidance in the Meiji era. Thus, the variety of brushes in Japanese painting is surprisingly broad compared to that in Western painting. PIGMENT TOKYO handles about 600 types of brush, 90% of which use natural bristles. Recently, however, with soaring prices and the difficulty of obtaining natural hair, manufacturers of artistic resources, guided by feedback from PIGMENT TOKYO’s artists, are developing brushes with synthetic bristles such as nylon.
5. Inkstone (Suzuri)
Japanese painting features various modes of expression using black ink, from line drawing to tarashikomi, where concentrated ink is dropped into diluted ink. Ink originated in ancient China and came to Japan around the second century. Inkstones for grinding solid ink are also important items. There are Chinese tōken and Japanese waken inkstones, and while PIGMENT TOKYO stocks various types for practical use, some have antique art value. The rōkō grade of Duan inkstones, made of fine stone quarried from the valley in Zhaoqing, Guangdong Province, China, is said to be the finest, maximizing the ink’s luster and color quality. It features beautiful decorative carvings. These precious items reportedly escaped destruction by being exported to Japan during China’s Cultural Revolution.
Charlotte, North Carolina — A city on the rise, Charlotte is home to nearly one million people and is one of 26 Knight Foundation communities across the country. Knight’s commitment to Charlotte dates back to 1955, when Knight Newspapers acquired the Charlotte Observer. Since then, the foundation has invested more than $100 million fostering community engagement, nurturing a dynamic creative economy, and supporting local journalism, arts, and culture. These efforts are helping to shape Charlotte into a vibrant hub for creativity and culture.
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Charles Thomas, Knight’s Charlotte program director, and Koven Smith, Knight’s senior director of arts, share insights into the foundation’s approach to building a thriving creative ecosystem in the Queen City.
Koven Smith: Knight has always had an interest in supporting both large anchor arts institutions as well as emerging arts organizations and individual artists, believing all three have key roles to play in the cultural vibrancy of the city. For instance, Knight recently committed $5M to the Charlotte Ballet and $5M to the Charlotte Symphony, but those grants were made in parallel with the Art and Tech Expansion Fund, a $3M program that has supported more than 75 individual artists and emerging arts organizations in Charlotte as well. That middle layer is critical—it’s often missing in other cities, but it helps create opportunities for artists to grow their careers locally.
Charles Thomas: I’ve had artists tell me that Knight was their first grant or that our funding opened doors for them to do things they wouldn’t have been able to otherwise. It grounds our creatives in the place that they call home.”
Koven Smith: We want artists to thrive here and not feel like they need to leave to achieve success. That’s a big part of why we focus on supporting artists and organizations at every level.
Charles Thomas: I’ve seen that issue firsthand as someone who grew up in Charlotte and worked here as a photographer. One of the challenges for artists has been the gaps—it wasn’t always a place where you can start your career and finish it, without having to leave.
Koven Smith: We provided early support to organizations like BOOM Charlotte, JazzArts Charlotte, GoodYear Arts and Charlotte is Creative, who are working to build out that middle layer.
Charles Thomas: This is what we’re trying to build in Charlotte. We want to ensure it is a place where artists are not alone but can grow as part of a collective.
Beyond individual success stories, Thomas and Smith see the arts as a driver of economic development in Charlotte.
Charles Thomas: We’re seeing artists integrate into the economy in exciting ways. Muralists, for example, are being hired by developers to create public art across the city. We’re also seeing artists incorporated into sectors like healthcare, helping to build an inclusive and creative economy.
According to the Charlotte Business Journal, public investment in the arts has also increased, with the city and county recently doubling their annual arts funding from $10.6 million to $21 million arts and culture sector starts new chapter with $21 million in fresh funds.
Charles Thomas: This new funding is an outcome of the Infusion Fund, in which Charlotte’s public and private sector rallied to raise $41M for the arts during COVID. The three-year Infusion Fund raised the bar for public support of the arts sector. It’s a great example of how the public and private sectors come together to make Charlotte a fertile ground for the arts.
Smith shared an example of how the arts are driving economic growth with Knight’s investment with Charlotte Ballet.
Koven Smith: “The grant we made to the Charlotte Ballet to expand their facilities isn’t just about building infrastructure—it’s also tied to creating affordable housing for artists. This housing will support not just Ballet performers, but potentially arts workers in other disciplines who might otherwise be priced out of living in Uptown Charlotte. This new development is a key part of ensuring the arts remain accessible and sustainable in Charlotte.
As the conversation wrapped up, both agreed that Charlotte’s arts scene is at an inflection point.
Charles Thomas: Charlotte is a city on the move, and it feels like we’re becoming a place where artists can land and grow. The arts are helping to shape our identity as a city, and that’s incredibly exciting.
Koven Smith: What I find inspiring is how artists are taking a leading role in defining what Charlotte will become. It’s an evolving city, and creatives are at the heart of that evolution.
Charlotte isn’t just growing—it’s creating a space where artists can thrive. As Thomas put it: “Come to Charlotte and thrive (as an artist).”
Diriyah Art Futures, the first institution in the Middle East and North Africa dedicated to new media arts, has officially opened its doors to the public. Situated in Diriyah, a UNESCO World Heritage site in Saudi Arabia’s capital city of Riyadh, Diriyah Art Futures is an international hub, established with the mission of diversifying the emerging field of new media arts by amplifying the voices of Middle Eastern practitioners.
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“The opening of Diriyah Art Futures represents a milestone in the evolving narrative of new media arts, as we finally introduce perspectives from the Middle East and North Africa to global conversations in this field,” said Haytham Nawar, director of Diriyah Art Futures. “DAF will serve as an epicenter for critical engagement and innovation at the intersection of art and technology, pushing creative boundaries and imagining new futures.”
DAF’s launch is accompanied by a full slate of public events, anchored by the opening of its inaugural exhibition, “Art Must Be Artificial: Perspectives of AI in the Visual Arts,” which runs through February 15, 2025. Surveying the evolution of computer-generated art from the 1960s through the present, the exhibition serves as a bold declaration of DAF’s mission statement as well as an assertion of its bona fides.
“Art Must be Artificial”was curated by Jérôme Neutres, former director at the Réunion des Musées Nationaux-Grand Palais in Paris, and features works by more than 30 pioneering artists, including Frieder Nake, Refik Anadol, and Vera Molnar, as well as Saudi artists Lulwa Al-Homoud and Muhannad Shono, along with others from the MENA region.
DAF’s opening week was also marked by multiday workshops on geometric abstraction (taught by Al-Homoud) and the role of generative AI (led by pathbreaking artist Leonel Moura), as well as tours of the exhibition and an audiovisual concert devised and performed by artist Davide Quayola. Public conversations with Leonardo Dellanoce and Louis-Philippe Demers are scheduled through the rest of the year, with more workshops, masterclasses, performances, and film screenings planned for early 2025.
Diriyah Art Futures’ opening reflects Saudi Arabia’s ambition to become a global hub for innovation, part of the framework of Vision 2030, an ambitious venture that seeks to strengthen the Kingdom’s economic position on a global scale and elevate its status as a cradle of creative and technological innovation through multi-industrial initiatives rooted in Saudi culture and heritage.
Mona Khazindar, advisor to Saudi Arabia’s Ministry of Culture, said: “Established by the Museums Commission, one of the 11 sector-specific entities of the Saudi Ministry of Culture, DAF is a testament to our nation’s efforts to nurture talent and pioneer new forms of creative expression. Through global institutions such as DAF, we are developing a cultural ecosystem that nurtures creativity, enriching lives and empowering the next generation of artists and scholars.”
This launch also marks the latest achievement in a long-running effort to revitalize Diriyah by the Saudi government and Diriyah Company, a public investment fund dedicated to advancing this initiative under the auspices of Vision 2030. The historic city lies along the fertile Wadi Hanifa valley northwest of Riyadh and served as the first capital of Saudi Arabia from 1727 until 1818.
As Riyadh grew into a modern capital, Diriyah was left mostly abandoned for more than a hundred years, until residents began to return to the area in the mid-20th century. Private repopulation efforts have snowballed over the following decades into a full-fledged, state-funded venture to preserve the city’s historic status and reestablish the area as an attractive destination for culture and commerce. Since 2010, At-Turaif—Diriyah’s historical district, where DAF is located—has enjoyed status as a UNESCO World Heritage Site.
With strikingly modern forms and a natural earth exterior that evokes the mud-brick buildings of the old city, DAF’s facilities embody the confluence between Diriyah’s historical significance and its ambitious vision for the future. The 129,000-square-foot campus was designed by Italian architects Schiattarella Associati and houses cutting-edge exhibition areas, studios, digital labs, residential quarters, a library, and an auditorium, among other facilities. This is more than a mere museum of computer art; it’s a living forum for artists, scholars, and technologists to collaborate and catalyze the growth of this rapidly developing medium.
To that end, DAF has also underscored its advocacy for stewarding the next generation of talent and promoting the creative voices of regional practitioners through a series of programs and residencies.
The Emerging New Media Artists Program is a yearlong course designed to equip forward-thinking young artists for a career in new media arts. Developed with Le Fresnoy, Studio National des Arts Contemporains, an arts center in France, the syllabus encompasses weekly lectures, seminars, screenings, and workshops with leading artists, as well as an environment to create works across a range of disciplines. The participants’ creative endeavors are further supported through funding, mentorship, and access to the facility’s state-of-the-art equipment and production spaces. The first cohort comprises 12 young artists representing 11 countries throughout the Middle East, Africa, Europe, and Asia.
The Mazra’ah Media Arts Residency, meanwhile, is geared toward established artists and scholars working in the fields of new media and digital art, and will run from February through April 2025. The theme of the first residency is “High-Resolution Dreams of Sand” and encourages participants to create new work or scholarship that considers the intersections between ecology and human civilization through the dual lenses of art and technology. The theme also explores DAF’s proximity to the landscapes of historic Diriyah and the rapidly developing Saudi capital. As with the Emerging New Media Artists Program participants, residents will be supported through access to DAF’s facilities and equipment, a production budget, and opportunities to exhibit their work.
Applications for the Mazra’ah Media Arts Residency are open through January 20, 2025
For more information about Diriyah Art Futures, visit daf.moc.gov.sa/en/ or follow DAF on X (@DAFmoc) and Instagram at @DAFmoc.
Today’s artists are navigating a landscape where digital technology blends the physical and virtual worlds, offering new ways to create, communicate, and collaborate. While technology can sometimes seem daunting, designed by a few for the many, artists now have unprecedented access and agency to harness these tools. By skillfully integrating digital technologies, creators can deepen experiences, reach new audiences, and design a collective future that reflects and connects communities in profound ways.
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Knight New Work celebrates this intersection of artistic creation and technological innovation, encouraging new modes of production, expression, and communication. Since 2020, the program has fostered projects that leverage digital tools to expand artistic possibilities, engage broader audiences, and strengthen community bonds. Through Knight New Work, individual artists, collectives, and arts organizations are invited to explore how technology can enhance their practice and impact, with the only requirement being that proposed works premiere in, and/or the artist is based in, the resident’s community.
Proposals are reviewed by a national panel of artists, practitioners, and Knight Foundation staff, ensuring that the selected projects reflect a diverse range of voices, styles, and visions. This year’s recipients—from Miami, Akron, and Detroit—exemplify the creativity and innovation at the heart of the program. Each winner has been recognized for pushing the boundaries of artistic practice, using technology in unique and meaningful ways, and making a significant impact within their local communities.
“Knight New Work embodies our belief in the power of the arts to connect people and strengthen communities,” said Jennifer Farah, Knight’s director of arts. “By supporting artists who are pushing the boundaries of what’s possible with digital technology, we’re helping to shape the future of art and culture in Miami, Akron, and Detroit. We’re excited to see how these projects will inspire and engage residents.”
Knight Foundation is dedicated to supporting artistic innovation and enhancing cultural vibrancy in its communities. Through initiatives like Knight New Work, the foundation aims to foster innovation, encourage community cohesion, and contribute to a vibrant and healthy democracy.
In Detroit, grant recipients blend technology and tradition, bringing fresh perspectives to the city’s rich history:
Media City Film Festival: A new multi-screen astral-focused artwork by Kevin Jerome Everson using precision celestial technologies at local observatories and planetariums.
rootoftwo: A digitally augmented tabletop cooperative game where players navigate the complexities of digital information in a world where privacy is a commodity.
Shara Nova and Matthew Ritchie: An atmospheric durational installation with a choir, soloists, and projected AI-generated imagery called “Half Winged”— a musical interpretation of the encyclopedic text of “Paradise Lost.”
Summer Krinsky: A composition for a new electro-acoustic concerto that blends the distinctive sounds of Detroit with the capabilities of AI.
Demario Dotson: An immersive multimedia installation experience through 3D animation and original music about Black and queer southern heroes.
In Miami, grant recipients reflect the city’s changing climate and celebrate the city’s vibrant cultural landscape.
O, Miami: An interactive installation that uses augmented reality to explore the history of Miami’s neighborhoods, encouraging residents to engage with their local heritage.
South Florida Center for Percussive Arts: A multimedia performance piece incorporating digital projections and live music, creating a dynamic blend of physical and virtual storytelling.
FilmGate Miami: A collaborative project between visual artists and coders, using machine learning to generate digital art inspired by South Florida’s diverse ecosystems.
Cornelius Tulloch: A series of public architectural installations in collaboration with youth digital fabrication workshops, reimagining Miami’s vernacular architecture through contemporary technology.
Jayme Kaye Gershen: An immersive multi-channel exhibition, guided by mangos, where participants engage with community and climate through a sensorial experience.
Leo Castañeda: A Miami based artist, is planning a mythological reinterpretation of Akron’s history, deep-past, present and future as a series of community workshops and interactive-3d-animations on view to the public through storefronts in Akron.
In Akron, grant recipients’ inventive use of technology reimagines public spaces and creates connections between artists and community.
Akron Soul Train: An immersive audio/visual experience with new technology to spatially distribute sight and sound and transport the viewer beyond the boundaries of the container.
The Movement Project: TMP will develop low-cost, tech-based tools to lower barriers for dance artists, showcased through workshops and premiere performances in Akron and Detroit.
Saelyx Finna: A short film and a series of experiential public events in Akron on the rise of dream neurotech—technology that directly interacts with the dreaming mind.
Knight Foundation’s 2023 Grant Recipients Showcase Their Award-Winning Work
Knight Foundation is pleased to announce that the 2023 KNW Detroit grant recipients will be exhibiting their works this spring. Presented at events throughout the city, audiences will explore these innovative projects and hear directly from the artists. Each event is not just a celebration of creativity but also an opportunity for the community to come together and engage with the cutting-edge ways in which art and technology can intersect.
“We are thrilled to see how Knight New Works will inspire, provoke, and bring people together throughout the city in unexpected ways,” said Farah. “Each installation will be a testament to the vibrant creativity that makes Detroit’s arts community so unique.” The 2023 KNW winners are as follows:
- Simon Anton: Plastic Future Plastuc Past
- April 17th, 2025, at M Contemporary Art
- Carla Diana: MOBILITY TOWN – Out of Our Cars and Into the World
- May 9-31, 2025, at Michigan Central – New Lab
- Jessica Rajko: Politics of the Grid
- May 30-31, 2025, at Hilberry Gateway
- Linh My Truong: Threads of Passage: From Vietnam to America
- April 25th-May 18, 2025, at Annex Gallery at 333 Midland
- Wasserman Projects: “Underfoot / Overhead”: Marina Zurkow, James Schmitz, Jasmine Murrell
- April 5-June 8, 2024, at Wasserman Projects
- The Hinterlands: Sunset: A Cyber-Lament
Diriyah Art Futures (DAF), the first hub dedicated to new media art and digital art in the Middle East and North Africa, has announced the details for its inaugural Mazra’ah Media Arts Residency, an immersive residency program taking place over three months from February through April 2025.
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The residency offers artists and scholars established in the fields of new media and digital art an intensive and comprehensively resourced opportunity to develop and showcase their work, build connections with like-minded practitioners across disciplines, and secure future professional engagements.
Located in Diriyah, a heritage city neighboring the Saudi Arabian capital of Riyadh, DAF was developed by the Saudi Museums Commission and is billed as a haven for the advancement of interdisciplinary creative practice at the intersection of art, science, and technology. It is set to open to the public on Nov. 26, 2024.
“The Mazra’ah Media Arts Residency represents Saudi Arabia’s commitment to developing the country’s cultural ecosystem, and transforming Riyadh into a global hub for new media and digital art,” says Mona Khazindar, Advisor to the Ministry of Culture. “Through these efforts, we are establishing the Kingdom as a hub of cultural exchange, pioneering new forms of expression in the heart of one of our most cherished historic districts.”
Overlooking the historic Diriyah farms, DAF’s facilities cut an impressive figure that echoes its function as creative bridge between past and present. The 6,550-square-metre, state-of-the-art school, laboratory, and exhibition space was designed by Italian architectural firm Schiattarella Associati, and is constructed of locally sourced stone and earth to integrate with the surrounding landscape and the mud-brick buildings of the old city.
DAF is part of a long-term urban revitalization of Diriyah, a historic city dating back to the 15th century. Established as the capital of the first Saudi state in 1727, Diriyah was a political and agricultural hub for the region until it was overtaken by the Ottoman Empire in 1818.
After its abandonment, the majority of Diriyah’s former residents resettled in Riyadh, which today is a veritable metropolis. In recent decades, the capital has transformed into a global hub, shaped by rapid advancements in technology, infrastructure, and forward-looking cultural initiatives.
But even as Riyadh’s geographic boundary has swelled to encompass Diriyah, the two cities remain distinct entities. Residents began returning to Diriyah in the mid-20th century, and the Saudi government bought the site in 1982, effectively planting the seeds for its gradual revitalization. Diriyah was declared a UNESCO World Heritage site in 2010, and in addition to being the seat of its own governorate, the city has become a burgeoning tourist hotbed for its historical landmarks, new museums, and commercial attractions.
Certainly, DAF’s unique context offers contrasts that invite deeper reflection. Diriyah, an agricultural oasis set within the desert, resonates with DAF’s role as a source of technological and creative innovation. This duality — one ancient city rooted in heritage, the other a symbol of modernity — prompts contemplation on how each has nurtured cultural and economic growth for its people. It also highlights the complex environmental dynamics intertwined with societal progress in both past and present. These themes of renewal and sustenance are core to DAF’s artistic mission and to the Mazra’ah Residency. The program’s name comes from the Arabic word for “farm” — a nod to the preserved farms and other archeological sites that checker the landscape — while the program’s 2025 theme, “High-Resolution Dreams of Sand,” challenges participants to reflect on the ways that nature and technology intertwine with humanity to sustain and enrich life.
The Mazra’ah Media Arts Residency offers a dedicated retreat for artists and scholars, with Diriyah Art Futures as an inspiring oasis for creation and study. Participants will have access to state-of-the-art new media studios and facilities, including comfortable living quarters, workspaces, and specialised labs for fabrication, recording, and VR/AR production. The residency also includes a lecture and performance space, a library, and a new media arts archive, along with a production budget to support each resident’s work.
Throughout the program, residents will receive tailored support and have opportunities to connect with a network of fellow artists and scholars. Work produced during the residency will be showcased in exhibitions and scholarly publications, while DAF’s regional and international partnerships provide pathways for ongoing creative and academic exploration.
The residency follows distinct paths for artists and scholars, respectively. Artists working in sound and visual media, as well as computational, biological, scientific, and technology-related methodologies, are encouraged to apply. The scholar track is geared toward writers, academics, and theorists in the subjects of new media and digital art and technology and culture.
Applicants for both tracks should submit a proposal for a specific project to be completed during the residency connected to the “High-Resolution Dreams of Sand” theme. This proposal should detail the project’s conceptual framework and intended outcome, along with a production timeline and budget that aligns with that outcome, and a CV or portfolio of previous work. Applications are due on Jan. 20, 2025.
Artists and scholars from around the world are welcome to apply to the Mazra’ah Media Arts Residency. Individuals representing perspectives from the Middle East, North Africa, and the global south are particularly encouraged to participate.
“This dynamic residency offers established artists and scholars an unparalleled opportunity to develop new creative practices and contribute to global scholarly discussions on new media art through a regional perspective,” says Dr. Haytham Nawar, Director at DAF. “This is where the impossible comes to life.”
Interested artists and scholars can learn more about the residency and apply at daf.moc.gov.sa/en/. For more, follow Diriyah Art Futures on X (@DAFmoc) and Instagram @DAFmoc.
The Smithsonian’s National Portrait Gallery and Archives of American Art invite visitors to contemplate what a portrait can be with “Felix Gonzalez-Torres: Always to Return,”on view through July 6, 2025. This is the largest presentation of the late artist’s work in Washington, D.C., in 30 years.
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Born in Guáimaro, Cuba, in 1957, Felix Gonzalez-Torres rose to prominence in the 1980s and 1990s to become one of the most influential artists of the 20th century. He lived primarily in New York, as well as in Madrid; San Juan, Puerto Rico; Los Angeles; and Miami, where he died from AIDS-related causes in 1996. During his lifetime, Gonzalez-Torres expanded the horizon of what a portrait could be, from a genre often seen as a static representation of individuals to one with the capacity to change, remain resonant, and encourage collaboration. Co-curated by Josh T Franco, head of collecting at the Archives of American Art, and Charlotte Ickes, curator of time-based media art and special projects at the National Portrait Gallery, the multisite exhibition will focus on the late artist’s deep engagement with portraiture, the construction of identity, and how history is told and inherited.
Visitors can experience the exhibition from multiple locations and viewpoints—both inside museum walls and outdoors. While the majority of the artist’s work will be on view inside the National Portrait Gallery and the Archive of American Art’s galleries, the artist’s light string work “Untitled” (America), 1994, will span three additional locations: the F Street facade of the National Portrait Gallery, the Martin Luther King Jr. Memorial Library of the District of Columbia Public Library, and along 8th Street NW between F and E Streets, in partnership with the DowntownDC BID.
Playing with non-conventional notions of portraiture and the complexities of identity, indoor sections of the exhibition will include several of the artist’s word portraits, including two new versions of “Untitled” (1989), physically manifesting as a list of events and corresponding dates painted directly onto a wall at “frieze height.” Gonzalez-Torres intended for owners of these works to create new versions on an ongoing basis, allowing the portraits to be responsive and exist in multiple versions across time and space. In the artist’s words, “We are not what we think we are, but rather a compilation of texts. A compilation of histories, past present and future, always, always, shifting, adding, subtracting, gaining.”
Also on view and exemplary of the artist’s conception of portraits that change across time and space will be “Untitled” (Portrait of Dad), 1991, and “Untitled” (Portrait of Ross in L.A.), 1991. While these two works have ideal weights of 175 pounds, each can be installed in different configurations with an endless supply of candy sourced by the museum.
Other non-figurative works by Gonzalez-Torres will be in conversation with traditional likenesses of historical figures, such as Theodore Roosevelt, Gertrude Stein, Walt Whitman, and others in the Portrait Gallery’s collection. The Archives of American Art’s Lawrence A. Fleischman Gallery will also display artworks and correspondence that animate the artist’s relationship to appropriation, source material and the photographic medium. For the first time in the United States, and only the second time internationally, the “complete set of individual puzzles,” consisting of all 55 of the artist’s editioned puzzle works, created from 1987 to 1992, will be on view.
Audiences can visit the Smithsonian’s National Portrait Gallery and Archives of American Art daily from 11:30 a.m. to 7 p.m., 364 days a year. Admission is free.
“Felix Gonzalez-Torres: Always to Return” received support from the Fisher Arts Impact Fund and federal support from the Latino Initiatives Pool, administered by the National Museum of the American Latino.