Anna Mikaela Ekstrand

4 days ago | whitehotmagazine.com | Anna Mikaela Ekstrand

Traversing New York and Istanbul, Metropoli, curator Lara Bayer’s latest exhibition held at The Consulate General of the Republic of Türkiye from April 17 to May 1, 2025, presented ten artists and their view of the metropolises. Sponsored by Turkish Airlines, the exhibition engages in placemaking—offering a space to reflect on where Istanbul is moving for Turkish viewers, and for others, a look into the relationship between the two cities.

1 week ago | whitehotmagazine.com | Anna Mikaela Ekstrand

By ANNA MIKAELA EKSTRAND May 6, 2025Are there really enough collectors to support the growing number of art fairs out there? Probably not, but there are certainly enough galleries. Under Ari Emanuel’s leadership, Frieze has opened new fairs in Seoul and Los Angeles and acquired The Armory Show and Expo Chicago, and his recent acquisition of the company for $200 million indicates that he continues to believe in the business.

2 weeks ago | cultbytes.com | Anna Mikaela Ekstrand

Elizabeth Colomba is on a mission to bring the portraits of black women into historically male, white dominated cultural spaces. Amidst her latest solo show at Venus Over Manhattan, the gallery hosted a conversation between Colomba and her friend and fellow artist, the acclaimed actress Lucy Liu, who, through her acting, has brought Asian representation to the silver screen.

3 weeks ago | cultbytes.com | Anna Mikaela Ekstrand

Perusing the lust archive of the Internet, to contextualize Drink Me! and S.L.UT.S, I watched Andy Warhol’s Flesh (1968), or simply Flesh, directed by Paul Morrissey, yesterday. As a celebration of the glorious Joe Dallesandro, the film is a masterpiece (otherwise it is mediocre at best), and for its delicate investigation of sexual repression and fluidity, lust, and sex work, it was surprisingly current.

3 weeks ago | artefuse.com | Anna Mikaela Ekstrand

I first saw one of Wo Xinyu’s surrealist paintings at the opening of “A Private Viewing,” a group show presenting one of her oils on canvas, Everything, Every Moment (2022) at Charmoli Ciarmoli—it caught me off guard, intense. A naked woman standing on a protruding ledge atop a house, colors blazing in fiery red and orange. Her hands outstretched, like a diver bracing for a buoyant take-off, in the style of 19th-century depictions of Greek goddesses.