Articles

  • 1 week ago | vanityfair.com | Ann Binlot

    A few weeks ago, Moncler sent out a cryptic save-the-date invitation that read, “Remo Ruffini & Edward Enninful, together with Miley Cyrus, invite you to Something Beautiful” at the hotel and members-only club Casa Cipriani on May 3—two nights before the Met Gala 2025, fashion’s biggest night. The date finally arrived, and guests were in for a special surprise, a live preview of Cyrus’s upcoming album titled, ahem, Something Beautiful, out on May 30.

  • 1 week ago | family.style | Ann Binlot

    The entrance to Ilana Savdie’s new exhibition at White Cube New York isn’t just a passage—it’s a confrontation. Visitors must squeeze through a narrow pathway lined with beige and brown latex walls. The slick and disorienting tunnel evokes both birthing canal and horror-movie viscera. It's a sculptural prelude to the emotional terrain ahead, a transition from clean, white gallery space into the unstable, sinewy, corporeal, and often grotesque universe that Savdie has conjured.

  • 2 weeks ago | documentjournal.com | Ann Binlot

    Following his debut solo show in London, the British artist joins Document to discuss painting, performance, and his corporeal collaboration with choreographer Sharon Eyal Six years ago, emerging British painter George Rouy attended a performance by the groundbreaking choreographer Sharon Eyal—and he was hooked.

  • 3 weeks ago | family.style | Natasha Stagg |Meka Boyle |Ann Binlot |Ross Simonini

    On a Sex and the City tour, part of a friend’s New York-themed birthday week itinerary, I am now the same age as Carrie Bradshaw in the show’s final season (2004), but it is 20 years later.

  • 3 weeks ago | family.style | Meka Boyle |Natasha Stagg |Ann Binlot |Ross Simonini

    Andrew J. Greene is holding a “Yes or No” coin in his hand as he leans forward on a leather chair in his bungalow-turned-studio in central Los Angeles. Vintage scales line his mantle, old fortunes are clipped to a note-card tree, and two early ‘90s novelty talking characters—the Yes Man and Whipping Boy—stand by ready to be turned on and either belt out affirmations or take the blame. Choices are abundant, but the artist doesn’t offer answers.

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