-
1 week 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.
-
2 weeks 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.
-
3 weeks 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.
-
3 weeks 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.
-
4 weeks 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.
-
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.
-
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.
-
1 month ago | 
news.artnet.com | William Van Meter
Hermès doesn’t shy away from a maximal production, but for their presentation at Milan Design Week, they went minimal—in a big way. The enormous, historic La Pelota exhibition space was transformed into an austere white void, punctuated by monolithic white shapes that seemingly hovered above the floor emitting warm-hued glows. The impressive scenography came courtesy of Charlotte Macaux Perelman, the artistic director of Hermès Maison.
-
1 month ago | 
news.artnet.com | William Van Meter
On Monday, as Milan Design Week was kicking off, architect Ippolito Pestellini Laparelli was giving me a tour of Gucci’s “Bamboo Encounters.” The hollow cane has been an enduring house code since 1947, when the brand’s artisans began heating, bending, and lacquering it into bag handles. “Originally the idea was to show bamboo design objects from the ’60s and ’70s, but I said, that’s not enough,” he explained.
-
1 month ago | 
news.artnet.com | William Van Meter
Whenever Loewe gets involved with the craft aspect of a subject—whether or not you were familiar with it, or even interested in it to begin with—you come out of it compelled. I’ve learned to let go and trust the way of Loewe. They’re really that good at these sorts of things. “Loewe Teapots” might not sound like the most bombastic of show titles, but they don’t need excess hype when they’ve got the killer ceramics and porcelain to prove it.
