Art – Page 10 – longlistshort

Flashback- Brooklyn Murals- Coney Art Walls- Kashink

Oct 312025

Kashink was one of the many artists who created murals for Jeffrey Deitch’s Coney Art Walls in Coney Island, Brooklyn. You can find their most recent work on Instagram.

Below is Jeffrey Deitch‘s statement about the project from his website-

“Coney Art Walls was an outdoor museum of street art in the center of the Coney Island amusement park. Sixty-eight murals by leading and emerging artists from around the world were presented during the three year curatorial project from 2015 – 2017. Coney Art Walls was possibly the most visited contemporary art installation in the world during its run, experienced by many of the five million people who visit Coney Island each summer. Since the 1970s, when I would visit Coney Island with my punk rocker friends, I had a dream of creating a populist art installation there. Reading about a large vacant lot in the center of the amusement park, I approached the owner, Thor Equities, with my proposal for an outdoor museum of street art. They were enthusiastic about the concept and funded a remarkable three-year project. The mural project was enhanced by a Brooklyn food court with outdoor seating and a music program. It was thrilling to see hundreds of young people dancing in front of the murals on summer nights.”

Flashback- Sofia Love at Shelter in NYC

Art, Art Shows by Location, Artists, Mixed Media, New York Art Shows, Painting / Painters, Sculptors / Sculpture

Oct 312025

Today’s flashback is to a few of the intricate works from Sofia Love‘s 2023 exhibition Vaquera at Shelter in NYC.

From the gallery about the exhibition-

Vaquera – not determined by an article, the word becomes both a noun and an adjective, an iconic figure and a way of being in the world. For Brooklyn-based painter Sofia Love’s debut solo exhibition in New York, vaquera is both a manifesto of queer self-fashioning and a patron saint.

Born and raised in Boston, but with deep family ties to the Mexican community of Laredo, TX, Love’s acrylic paintings serve as a negotiation between ancestral memory and contemporary identity. The titular cowgirl recurs throughout the exhibition – gun-slinging, brown, and frequently nude – framed by expanses of desert. She’s a real, historical cowgirl. She’s the artist traversing her own imagination. She’s a badass dyke. For Love, vaquera is an object of desire and an extension of herself.

While there are traditional canvases, the majority of works on view take the form of nichos, intimate yet elaborately decorated altars that can be found in homes across Mexico. Dedicated to deceased ancestors or particular saints, nichos blend folk spirituality with Catholicism, smuggling pre-Colombian vernacular traditions into contemporary, Westernized culture. Love’s nichos draw on this history to produce art objects that exist at the border of painting and sculpture, with frames that extend the content and imagery of the paintings they enshrine.

The resulting works each have interiors and exteriors, the painting and the frame, in which ambivalent scenes are surrounded by totems and animals that seem to hint at the psychological subtext of the central image. Figures reappear across the framed nichos like characters in a narrative, each with its own personal connotation for the artist. Skulls, moths, storks tell stories that are only partially legible from an external perspective. Like the vaquera herself, Love’s layered compositions refuse any easy interpretation.

Florida Murals- Reid Jenkins and Scott Hillis in Pinellas Park

Art, Artists, Florida Street Art, Painting / Painters, Public Art, St. Petersburg Street Art, Street Art

Oct 302025

Mural by Reid Jenkins and Scott Hillis, located in Pinellas Park, Florida.

It is one of several murals outside a group of buildings that includes Studios at 5663 and Saint Paint Arts.

Throwback- Florida Artists- Betsy Orbe Lester at ArtLofts in St. Pete

Art, Art Shows by Location, Artists, Collage, Florida Art Shows, Mixed Media, Painting / Painters, Pinellas County, Sculptors / Sculpture, St. Pete

Oct 302025

Betsy Lester, “The Weyward Sisters”, Acrylic and collage on canvas

Florida artist Betsy Orbe Lester‘s mixed media work blends the familiar with the mysterious. The works pictured are from a 2023 visit to her studio at ArtLofts in St. Pete.

Palm Springs Art Museum- “Meditations in Glass”- Karen LaMonte

Art, Art Shows by Location, Artists, California Art Shows, Glasswork, Palm Springs

Oct 292025

“Pianist’s Dress Impression”, 2005, cast glass, cold-worked

This ghostly glass sculpture by Karen LaMonte is part of Palm Springs Art Museum‘s exhibition Meditations in Glass, on view until 11/23/25.

From the museum about the work-

This life-size figure of a pianist projects a ghostly aura, yet the sculpture holds light in its mass like the spirit is held in the physical body. We can see how flesh once filled out the figure, noting how the buttons of the dress strain over the chest. Glass is “air, ethereal, material/non-material, ungraspable, fleeting, spiritual,” says LaMonte. “The absent figure is important to me because it tempers the undemanding pleasure of beauty with insinuations of loss and mortality.”

Films to Watch- Andrei Tarkovsky’s “Mirror”

Art, Artists, Films, History, Video and Film

Oct 262025

In Andrei Tarkovsky‘s Mirror (1975) we follow the history of a dying poet, told through his dreamlike memories. It’s one of Tarkovsky’s most personal films and is semi-autobiographical. His older mother appears in the film, and he includes poetry by his father, Arseny Tarkovsky. Alternating between black-and-white and color film, as well as Russian archival footage, the film is nonlinear. Different characters are at times played by the same actor, like the younger version of his mother and his wife.

The visual poetry of the film captures something universal that is hard to describe in words, but is very affecting. Mirrors, reflections, flooding, fire, a gust of wind- even just watching the condensation from a cup disappear from a table- there’s so much to take in and contemplate.

Filled with his famous long takes, time moves more slowly in Mirror, and provides a much-needed break from our often too fast-paced world.

Flashback- Florida Art Shows- Ericka Sobrack in Morean Arts Center’s “Fresh Squeezed” in 2021

Art, Art Shows by Location, Artists, Decatur, Florida Art Shows, Georgia, Painting / Painters, Pinellas County, St. Pete

Oct 242025

Threshold, 2020, a painting by Orlando-based artist Ericka Sobrack, was on view in 2021 as part of Morean Arts Center‘s Fresh Squeezed 5. The annual Fresh Squeezed exhibitions focus on a selection of emerging artists currently living in Florida.

Her solo exhibition, Witching Hour, is currently on view at Cat Eye Creative in Decatur, Georgia, until 11/2/25.

From the artist about her work-

“My paintings are disorientations of everyday spaces, offering the viewer access into a realm of the unknown, ripe with psychological strangeness. Suburban environments are often subverted into a hyper-reality, revealing juxtapositions between the mundane and the eerie to create conflict and tension. I’m interested in how form, light and color within unassuming settings can be manipulated and orchestrated into uncomfortable, almost uncanny depictions of the banal. By deconstructing the mundane and colliding it with the abnormal, these familiar suburban settings transform into strange, otherworldly scenes that amplify human drama, usually suggesting an implied event, a vague story, or fragmentations of memory. Behind these charged scenes often lie personal yet common experiences that linger in a heightened state of uncertainty.

I often explore the idea of safety and threat within domestic spaces, where the viewer becomes a witness, an observer, or a participant of the narratives that unfold before them. These intimate scenes are an embodiment of the emotional discord many of us share, where vulnerability materializes, and we are forced to confront the uncomfortable truths of both physical and psychological isolation.”

Throwback- Delaware Art Shows- Nicole Parker at The Delaware Contemporary in Wilmington

Art, Art Shows by Location, Artists, Delaware, Painting / Painters, Wilmington

Oct 232025

The paintings above by Nicole Parker were part of the exhibition, Phantasia, on view earlier this year at The Delaware Contemporary.

The artist’s statement about her work from her website-

I am a representational artist specializing in narrative and symbolic paintings and hand-pulled intaglio prints. In my current body of work, I’m exploring the triangular relationship between my sense of self, my perception of what “home” means, and the physical spaces and environments that I’ve occupied throughout my life. My imagery often involves structures, spaces and objects that represent a story or dream from a specific period in my life. They are places and things that evoke strong emotions like love, loneliness, joy, or fear. I’m often unable to physically visit or return to the things I’m rendering, so in the studio I work from memory and cobbled references.

Although memory is always unreliable and changing by nature, I’m interested in the potency of my own sensory memories, and the way that light, color and the smell of the air stick in my mind. These concrete sensory ideas are always at the core of my practice.

Oct 182025

The Recap, my Substack newsletter, returns today with a focus on abstract art, punk rock, the American flag, the 90s, and more. It adds a little more dimension to what I post on the website and ties things together thematically.

Check it out and subscribe!

Throwback- NYC Art Shows- Sahara Longe at Timothy Taylor

Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters

Oct 162025

Sahara Longe “Skull”, 2024, Oil on Linen

“As We Are (after Otto Friedrich)”, 2024, Oil on Linen

“Liar”, 2024, Oil on linen

This week’s throwback is to Sahara Longe‘s paintings from her 2024 exhibition at Timothy Taylor gallery in NYC, Sugar.

From the gallery about the work-

Featuring twelve vivid and haunting canvases, Longe’s second exhibition with the gallery sees the artist reconceiving various art histories to arrive at an uncanny interplay of figures, allegories, and enigmatic landscapes. The show will be accompanied by an essay by Ferren Gipson, art historian and writer based in London.

In paintings characterised by a preternatural handling of line, colour, and figuration, Longe depicts partially abstracted subjects in atmospheric environments. Working on thick grain linen with raw pigment in a distinct palette of vermillion, lilac, raw sienna, and ochre, she renders her scenes with a fluid painterly freedom that is nevertheless quiet and precise in its effect. Across her work, she recalls aspects of the Symbolist ethos, which moved between nostalgia and rupture, seeking not to capture something directly, but rather convey the sensations it produces.

In her new paintings, Longe focuses on the nude. Articulated in spare, suggestive gestures, her subjects, largely women, are pictured huddled together, embracing a lover, or striding alone. Some set their gaze on an unknown distance, others stare down the viewer, and one confronts a fish. Each seems possessed by a disquieting tension that is emphasised by a shadowy apparition lurking in many of the works. Masculine in stature, the incubus perches over a scene or cradles another figure therein. Where Longe’s previous series reflect on social dynamics, depicting parties and crowds, these paintings are more personal; the artist explains that the new works look inward rather than outward. Expressive, brushy marks bring subtle notions of agitation, dreaminess, and intimacy to otherwise minimal passages of colour.

These paintings further explore the ideas set out in Longe’s earliest work, which emerged from her study of classical portraiture at Charles H. Cecil Studios in Florence; in her early canvases, Longe integrated and recontextualised themes and styles of old-master paintings. Here, her compositions draw from Secessionist painter Otto Friedrich’s nudes and Symbolist Ferdinand Hodler’s ominous portraits. They likewise reveal the influence of a recent trip to Oslo, where Longe was taken by Henrik Sorensen’s mural (1938–50) in Oslo City Hall (where the Nobel Peace Prize is selected), and the marginalia of illuminated manuscripts. Ushering these disparate sources and traditions into her singular aesthetic, Longe poses subtle questions about representation—who it serves, and what narratives it upholds—just as she underscores figuration’s expressive potential.

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