A Little Art List - BlogFlock

Mistakes, chaos and meditation: inside the mind of Bráulio Amado - It's Nice That

2026-10-26T09:00:00.000Z

It’s Nice That chats to one of the most revered graphic designers of his generation, about finding idea gems in the sprawl of New York, and the routines and parameters that forge his best work.

“You deserve a chance to try and find a role that challenges you” - It's Nice That

2026-10-26T09:00:00.000Z

Big movie stars say they do ‘one for them’ and ‘one for me’ – one creatively fulfilling job and one commercial cash grab. But as creatives, not movie stars, the choice between the two can be an incredibly difficult one to make. If you’re feeling creatively cornered, where should you turn? Katie Cadwell, offers her two cents.

Madeline Rupard finds the sublime in the mundane landscapes of western America - It's Nice That

2026-10-26T09:00:00.000Z

From glowing petrol stations and fizzy drinks to vast mountain ranges, the Utah-based painter captures the strange, everyday magic of the American West through the window of her vintage Subaru.

Hono’s label branding for Temper cider animates the last rally of the 2008 Wimbledon final - It's Nice That

2026-10-26T09:00:00.000Z

The one one-off collaboration between Temper – a studio for tennis objects and experiences – and cidermaker Luka Zeichmann is marked with labels that unfolds like a flip book when lined up.

Jennifer Lauren Smith in conversation with Amanda Sauer - LENSCRATCH

2026-10-25T10:00:34.000Z

Jennifer Lauren Smith is an artist with a background in sculpture and the humanities, working primarily in analog photography, video, and performance. Her practice is informed by her experience as a deaf person — existing in a soundscape of fragments, residual hearing, guesswork, and hypervigilance. She utilizes this fractured, embodied process to create experimental visual

View the rest of Jennifer Lauren Smith in conversation with Amanda Sauer on LENSCRATCH.

Ryan Frigillana: Tears, Blood, Sweat - LENSCRATCH

2026-10-24T10:00:58.000Z

How do memory, images, and systems of belief shape lived experience and a sense of belonging? This question is at the heart of Tears, Blood, Sweat, in which Ryan Frigillana reconsiders the American Dream through intertwined histories of land, labor, and citizenship. Drawing on his experience as a first-generation Filipino American, he interweaves personal and

View the rest of Ryan Frigillana: Tears, Blood, Sweat on LENSCRATCH.

‘Street Photography Africa’ is a Colorful and Energetic Survey Across the Continent - Colossal

2026-10-23T15:15:23.000Z

From the markets of Dakar and Lagos to the sidewalks of Abidjan and the Beherawi neighborhood of Addis Abab, a bold new book by Nadine Barth and Azu Nwagbogu travels from country to country to present a vast portrait of life on the continent. Street Photography Africa compiles hundreds of images from 33 photographers who each turn their lens to public spaces, documenting cultural moments with musicians and dancers alongside more everyday fashions and routines. While vast in scope, location, and style, the nearly 300-page survey is connected by the central premise that “the street becomes a stage.”

Street Photography Africa is out this month from Thames & Hudson. Find your copy on Bookshop.

Tsion Haileselassie, Two in One, Beherawi, Addis Ababa, Ethiopia (2021). Photo © Tsion Haileselassie

Sarah Waiswa, Untitled, Abidjan, Cote d’Ivoire (2024). Photo © Sarah Waiswa

Jude Lartey, Daniel, Accra, Ghana (2024). Photo © Jude Lartey

Kothegrapher, We Dey Road Dey Come, Wuse Abuja, Nigeria (2024). Photo © Kothegrapher

Delali Ayivi, Looking Beyond, from the series Racines de l’Imaginaire, Lome, Togo (2021). Photo © Delali Ayivi

Nuits Balnéaires, Music Artist Famas for Poplin Project, Treichville, Côte d’Ivoire (2023). Photo © Nuits Balnéaires

Alexandre Gandaho, Yellow Blue Car Rapide, Dakar, Senegal (2023). Photo © Alexandre Gandaho

Stephen Tayo, Michael, Lagos, Nigeria (2018). Photo © Stephen Tay

Unavailable Photographer, Before the World Changes Us, Lagos, Nigeria (2025). Photo © Unavailable Photographer

Naëtt Mbaye, from the series Marché 100 Francs, Dakar, Senegal (2024). Photo © Naëtt Mbaye

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article ‘Street Photography Africa’ is a Colorful and Energetic Survey Across the Continent appeared first on Colossal.

“Marvelous Problems” by Artist Emanuela Lekić - BOOOOOOOM!

2026-10-23T13:00:26.000Z

Emanuela Lekić

Emanuela Lekić on Instagram

Tree Week: Donna Bassin: Portraits of a Precarious Earth: Ancient Trees - LENSCRATCH

2026-10-23T10:00:43.000Z

There is something humbling about standing in front of a tree that has been alive for hundreds, sometimes thousands, of years. But there is also something humbling about standing in a forest in Japan and seeing Donna Bassin‘s portraits of trees printed set amoungst those trees, on large canvases during the Karuizawa Foto Festival. We

View the rest of Tree Week: Donna Bassin: Portraits of a Precarious Earth: Ancient Trees on LENSCRATCH.

Design as a unifying language: Arsh Raziuddin on how her World Cup identity united NYC - It's Nice That

2026-10-23T08:00:00.000Z

Designer, illustrator and creative director Arsh Raziuddin gives the New York Nicer Tuesday’s crowd an look behind the curtain of her career to date, demonstrating how her background in editorial and book cover design shaped her approach to image making and how all her work – particularly her identity for Mamdani’s NYC World Cup campaign – has been about using the power of design to build community and common ground.

Eye Candy for Today: Edith Hayllar’s Five o’clock tea - Lines and Colors

2026-10-23T01:58:45.000Z

Five o’clock tea, Edith Hayllar (1860–1948), oil on canvas, 18 x 14 in. (46 x 35 cm). Image is from a 2011 Christie’s auction. I assume the original is in a private collection.

My eye imediately goes to the the almost sihlouetted woman sitting at the top of a small flight of stairs, her arm around a curled up dog (who I presume is waiting for her tea companion). I’m drawn by the contrast between her shadowed face and the brighter ground, as well as the contrast of the white flowers on her hat against the darker foliage behind.

I’m then led, in something of a spiral, to the table setting with its shining silver and Delft blue, set againt a colorful spray of flowers, and back to the gate in the courtyard and the inviting path beyond.

Wangari Mathenge’s Vibrant Paintings Tap into Kenya’s Paradigm Shift in the 1960s - Colossal

2026-10-22T19:12:03.000Z

In 1963, following nearly 70 years of British colonial rule, Kenya declared independence. The nation was not alone on the African continent; in the 1960s, Gambia, Guyana, Malawi, Nigeria, and others freed themselves from Britain’s control in a watershed period of democratic redevelopment and socio-cultural shifts. Wangari Mathenge, who was born in Nairobi, looks to the not-so-distant past in an ongoing series of vivid oil paintings.

Many of the works shown here are part of the artist’s current solo exhibition, Re-membering at Lévy Gorvy Dayan. Inspired in part by scholar Ngũgĩ wa Thiong’o’s 2009 book Something Torn and New: An African Renaissance, Mathenge examines her own cultural identity through the lens of Kenya in the first half of the 20th century. Something Torn and New focuses on the long-lasting impacts of colonialism and slavery in Africa.

“Re-membering XII (The Wednesday Women’s Club)” (2026), oil on canvas, 72 x 90 inches. Courtesy of Lévy Gorvy Dayan

The artist’s recent work depicts herself as all of the women, who each interact in domestic spaces. Toys, books, maps, and the occasional uncanny scenario, such as the green ladder in the wall of “Re-membering XI (To Leave This Steady Unendurable Land),” nod to a period of significant change in Africa. The figures often play with or alter the items in front of them, such as documenting a transatlantic vessel or jostling a teddy bear in an activity that blurs gutting and mending.

Sometimes, Mathenge’s protagonists meet the viewer’s gaze directly, almost confrontationally, while in other settings, she or he relaxes amid an array of items. Through the lens of cultural memory, the artist gathers symbols of resistance and healing. The compositions are sometimes paradoxical in their depictions of toys and nostalgic items with an underlying tension, like “Re-membering XIII (May the Wind Be Always at Your Back)” in which one of the figures readies an arrow in a bow.

“Re-membering signifies not merely the act of recall, but the active gathering and reassembly of what has been fragmented: cultural memory, inherited forms, histories, and ways of seeing,” the artist says in a statement. The exhibition continues through October 24 in New York. See more on Mathenge’s Instagram.

“Re-Membering II (Facing Mt. Kenya)” (2025), oil on canvas, 91.4 x 88.9 inches. Photo by Brian Griffin Art Photography, courtesy of Pippy Houldsworth Gallery

“Re-membering X (I Fall Upon the Earth, I Call Upon the Air)” (2026), oil on canvas, 20 3/4 × 20 3/4 inches. Courtesy of Lévy Gorvy Dayan

“The Ascendants XXIV (Tea O’clock with Neel’s Ringgold II)” (2023), oil on canvas, 84 x 62 inches. Photo by Brian Griffin Art Photography, courtesy of Pippy Houldsworth Gallery

“Re-membering XIII (May the Wind Be Always at Your Back)” (2026), oil on canvas, 71 7/8 x 82 inches. Courtesy of Lévy Gorvy Dayan

“The Ascendants XXIII (Oblivion)” (2023), oil on canvas, 63 x 63 inches. Photo by Brian Griffin Art Photography, courtesy of Pippy Houldsworth Gallery

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Wangari Mathenge’s Vibrant Paintings Tap into Kenya’s Paradigm Shift in the 1960s appeared first on Colossal.

Ibrahim Said Nods to Ancient Islamic and Egyptian Pottery Traditions in ‘Shaping Time’ - Colossal

2026-10-22T14:12:43.000Z

In Fustat, a historic district of Cairo that was once the ancient Islamic capital of Egypt and a major trading center, centuries-old pottery known as Fustat ware has been excavated throughout the area. Typically featuring a luster glaze in a wide range of hues to produce an iridescent effect, the surfaces were sometimes incised with designs. For artist Ibrahim Said, who was born in Old Cairo and grew up observing the ceramics industry in the dozens of workshops comprising the area’s Pottery Village, past meets present in richly ornamented sculptures.

The artist’s new solo exhibition, Shaping Time at Yossi Milo, delves into traditional craft with a contemporary twist. Said recently completed the inaugural Metropolitan Museum of Art and Vacheron Constantin Artisan Residency, which granted the artist access to The Met’s collection over an 18-month period and influenced this new body of work.

“Delta Vase” (2025), white earthenware, 24 x 13 x 13 inches

Said considers time “not as a fixed progression from past to future, but as a layered condition in which histories and imagined futures continually overlap,” the gallery says. Drawing on Islamic and ancient Egyptian art, the artist expands up on the definition of a vessel, creating ceramic bodies linked by concave pillars or curved bands in a dualistic dance.

In addition to time, Said explores traditions associated with life after death and relationships between the permanent and the ephemeral. The precision with which he approaches symmetry and layers the sculptures with patterns such as latticework also serves as a reminder of passing time in the inherently labor-intensive process. The gallery says, “His works look backward and forward simultaneously, treating time as material, and suggesting that shaping an object is also a way of shaping our relationship to time.”

Shaping Time opens today and continues through January 9 in New York. See more on the artist’s Instagram.

“Floating Vase – Gold Twist” (2026), white earthenware, 16 x 7 1/4 inches

“Floating Vase 34” (2026), white earthenware, 24 1/8 x 5 1/4 x 5 1/4 inches

‘New Years Stack’ group

“Shaping Time 3” (2026), white earthenware, 16 3/4 x 11 1/2 x 9 3/4 inches

“Floating Vase – Delta 2” (2026), white earthenware, 20 3/4 x 8 1/2 x 8 1/2 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Ibrahim Said Nods to Ancient Islamic and Egyptian Pottery Traditions in ‘Shaping Time’ appeared first on Colossal.

Foto Foto is the design-focused brand bringing back the physical photo album - It's Nice That

2026-10-22T13:00:00.000Z

The automated platform puts the creative direction and design in your hands, so you can build a bespoke photo album that’s as nice to look at as it is nostalgic.

Mona Chalabi on making sense of the unmeasurable - It's Nice That

2026-10-22T13:00:00.000Z

The multi award-winning illustrator joins our US editor-at-large Elizabeth Goodspeed on the New York Nicer Tuesdays stage to talk about everything from her first job at the UN to how she first got into creating infographics and the difficulty of working with data in journalism when the world can never truly be measured to a decimal place. Finally the author gives us an insight into the story behind her first Penguin-published book: Ten Lives: How What We Have Shapes Who We Are, a unique blend of memoir, reportage and data visualisation and a reimagining of how we talk about class and the top 1 per cent, which took her six years to write and design.

Tree Week: Venessa Monokian: As the Glow Grows - LENSCRATCH

2026-10-22T10:00:14.000Z

Venessa Monokian initially used photography as a tool for coping with the limitations of her learning disability. She used it as an alternative way of understanding the world, and began experimenting with different ways of presenting images. Monokian photographed the tropical foliage of her home in Florida, and continued that practice after moving to Houston.

View the rest of Tree Week: Venessa Monokian: As the Glow Grows on LENSCRATCH.

All Work is Women’s Work recovers the forgotten history of Amsterdam’s seamstresses - It's Nice That

2026-10-22T08:00:00.000Z

Through radical publishing, archival research and printed garments, Hanka van der Voet brings the overlooked labour and political organising of early 20th-century seamstresses back into view.

Eye Candy for Today: Andrew Wyeth’s Flat Boat - Lines and Colors

2026-10-22T00:01:18.000Z

Flat Boat, Andrew Wyeth, watercolor, drybrush on paper; 22 x 29 inches (56 x 74 cm). Image is from Sotheby’s past auction. Original is likely in a private collection.

Another of Andrew Wyeth’s deceptively simple drybrush watercolors, singing with texture, harmonized with muted browns and grays, sharpened with striking value contrasts.

Just wonderful.

Dozens of Sculptures Dot Bondi Beach in the 2026 Sculpture by the Sea Exhibition - Colossal

2026-10-21T18:21:45.000Z

Bondi Beach, a neighborhood east of central Sydney, is about as iconic a surf spot as they come. Its eponymous crescent beach glows with golden sand, and its cliffs frame stunning scenery. In December 2025, it was also the site of a tragic terrorist attack, when two men opened fire on a Hanukkah celebration, killing 15 people. (Gun deaths, let alone mass shootings, are exceedingly rare in Australia, especially compared to the U.S.) At Bondi, heroism and a sense of community converged in its beautiful setting, reinforcing pride of place. And it’s again home, at least temporarily, to “the world’s largest free to the public sculpture exhibition.”

Sculpture by the Sea organizes an annual outdoor presentation of dozens of sculptures every year along a 1.25-mile stretch of coastline, highlighting work by artists from around the world. Styles and materials vary greatly, from geometric abstraction to myriad representational forms. Emma Anna’s “DREAM_N” resembles a giant Scrabble letter rack, while Andre Braun’s “Surface Breach” depicts a giant hand breaking free from the earth.

Emma Anna (Colombia-NSW), “DREAM_N” (2026)

The show remains on view through November 2. Explore past editions and watch a video of sculptures from last year’s exhibition below. See more on Instagram.

Tim Storrier AM (NSW), “Wayfarer” (2026)

David Doyle (NSW) “Kaaku-Kaakulinya Eternal Sentinels” (2026)

Ulan & Rachel( NSW) “The Guardians” (2026)

David Horton (NSW) “Peace” (2026)

Nenad Milovanovin (Serbia) “Support IV” (2026)

Keizo Ushio (Japan), “Oushi Zokei – Enmusubi II” (2026)

Harrie Fasher (NSW) “Unveiling the Edges of the Sky” (2026)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Dozens of Sculptures Dot Bondi Beach in the 2026 Sculpture by the Sea Exhibition appeared first on Colossal.

A New Wildlife Crossing in Colorado Has Already Cut Vehicle Collisions by 91 Percent - Colossal

2026-10-21T15:32:34.000Z

Anyone who has driven Interstate 25 between Denver and Colorado Springs knows that traffic can get… hairy. And it’s not just drivers whose safety is at risk, as animals like elk, bears, coyotes, and more also need to use the highway to access 39,000 acres of habitat. Cars and pronghorns just aren’t compatible. That’s why Colorado Department of Transportation (CDOT) set out to build a wildlife-only bridge, the largest of its kind currently in North America, which it completed in December 2025. Within the first nine months since its opening, wildlife-vehicle collisions were already down a whopping 91 percent.

Before the crossing opened, dozens of animals were killed by vehicles every year, often up to one per day during migration seasons. The overpass spans I-25’s six lanes and is completely covered in grass so that critters have uninterrupted access to habitat on both sides of the highway—and drivers face less risk and expense due to collisions. The project is one of several in progress across the U.S., including a handful more in Colorado that include underpasses and smaller bridges. Brandon Marette, a wildlife biologist with Colorado Parks and Wildlife, told CBS News, “One of the most heartwarming moments for me was when CDOT sent me a picture of an elk mama taking her calf under I-25.”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article A New Wildlife Crossing in Colorado Has Already Cut Vehicle Collisions by 91 Percent appeared first on Colossal.