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1 day ago | 
news.artnet.com | William Van Meter
Yesterday was the first scorching day of summer, and Eden Deering, the director of P·P·O·W gallery, was putting the final touches on a new group exhibition inspired by Lana Del Rey. “Every artist in the show is united in their devotion to Lana,” she said. “Everyone is a Lana fan and is inspired in their work.” The show is also about a lot of other things—art and artifice, sincerity and spectacle. “A lot of the work in the show and a lot of the artists deal with things that are fake,” she continued.
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2 days ago | 
news.artnet.com | William Van Meter
Opening today is the American debut of “Constellation,” the largest exhibition to date of the revolutionary photographer Diane Arbus. This Park Avenue Armory presentation is especially poignant, as Arbus was a New York local and did much of her work here, sourcing her subjects from every stratum of the city’s society—many heretofore ignored by the mainstream. The exhibition offers new perspectives into Arbus’s universe of humanity.
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1 week ago | 
news.artnet.com | William Van Meter
There are experiences in Barbara Chase-Riboud’s extraordinary life that she refers to as “BCR moments.” Whether through fate, serendipity, happenstance, calamity, greater power, or her sheer force of will or talent, these experiences turn out to be decisive and reverberate. The seismic one was in 1958, when she was 19 and attending the American Academy in Rome. On a dare, she packed her bag that night and the next day was on a freighter to Egypt.
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1 month ago | 
news.artnet.com | William Van Meter
Last week, the artist Tanda Francis walked through a gallery door at the Met and stumbled into a world she helped bring to life. “Suddenly I saw the work I had poured so much thought into, now multiplied several times and dressed in stunning diverse looks… appearing like different people but with that very familiar face,” she recalled.
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1 month ago | 
news.artnet.com | William Van Meter
Last week, the artist Oscar Yi Hou was admiring a 3D self-portrait by Juliana Huxtable. The piece hadn’t yet been hung—it rested on the floor, still wrapped in plastic—but Huxtable’s figure was already commanding: thigh-high crimson boots, reptilian skin, and outstretched bat wings. “It’s about power and hybridization,” Yi Hou said.
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1 month ago | 
news.artnet.com | William Van Meter
Much of the current conversation around the design boom has been surprisingly limited in scope: the new generation of collectors realizing that the sofa beneath their masterwork painting matters. Or, as the art market experiences periods of volatility, design is seen as more accessible—a $20,000 chair versus a six-figure painting. But what’s missing from this discourse is a deeper consideration of content.
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1 month ago | 
news.artnet.com | William Van Meter
Early last week, Ruth Angus, the associate curator of the Department of Astrophysics at the American Museum of Natural History, was giving me a tour of a jewelry exhibition nestled deep within the museum’s Halls of Gems and Minerals. “Each piece in this show is a collision between art and science,” she said. “Some are poetic interpretations.
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1 month ago | 
news.artnet.com | William Van Meter
In a harmonious blend of tradition and innovation, designer Maria Grazia Chiuri unveiled Dior’s Fall 2025 collection in the serene gardens of Toji Temple, a UNESCO World Heritage Site founded in the 8th century. Set in Kyoto—Japan’s ancient capital and a city where centuries-old craftsmanship and ceremonial elegance remain part of daily life—the show unfolded during peak cherry blossom season, its breathtaking scenography heightened by petals drifting across ancient stone.
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1 month ago | 
news.artnet.com | William Van Meter
In 1971, Pomellato made a quiet revolution with its debut advertising campaign. The image—Le Gemelle—was photographed by Gian Paolo Barbieri and marked the beginning of the Milanese jewelry house’s renown visual identity. The black-and-white portrait of twin models, adorned with bold, modernist bangles and sculptural necklaces, was a high-fashion take on doubling, evoking the eerie intimacy of Diane Arbus’s portraits.
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1 month ago | 
news.artnet.com | William Van Meter
On Tuesday night, at the landmark design museum Triennale Milano, as Milan’s design week was kicking into gear, Björk was decked out in a shiny silver bodysuit, a coat made of neon tulle, and her trademark mask. She alternated between headbanging, pogoing, and fist-punching the air. It was hard to see her—she was perched messiah-like atop a five-story structure intermittently surrounded by lights and smoke. No one was having a better time during her DJ set than she was.
