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The Infinity Universe. Oil on canvas.
by Tatiana Kochubinska and Tetiana Zhmurko
To become an Abstraction
by Katerina Sidorova
Tell Me a Story
by Michelle Adler
Figure 11 - Museum guards’ winning shooting team, The Metropolitan Museum of Art, 1930. Museum reference #: MM2930. Photographer: not recorded
by Vid Ingelevics
Figure 2. The Outsiders Union and the Travelling Farm Museum of Forgotten Skills. Photo by Merel Zwarts.
by Colin Sterling and Asia Komarova
Figure 2. Ferdinand Ahm Krag, Hall of Psychopomps, 2022. Installation view, Museum for fremtiden, Kunsthal Aarhus & Sort/Hvid (2022). Photo by Emilia Therese.
by Anders Thrue Djurslev
Figure 3. Installation view of Who I Am, Who We Are at the Nairobi National Museum. Photograph courtesy of Xavier Verhoest, 2015.
by Kristina Dziedzic Wright
AnnaMaria Pinaka, “untitled” (part of series Thirsty Pig), 2022. Ink and watercolors. Photo by AnnaMaria Pinaka.
roundtable with Meredith North, Kitty Zijlmans, Anna Maria Pinaka and Charl Landvreugd
No White in Sight
by Vincent W.J. van Gerven Oei
Fig. 6 . Details of the back of the Stedelijk rocking chair where now unused stitching holes can be seen.
by Ingeborg de Roode and Stedelijk conservators
Bakhyt Bubikanova
by Yuliya Sorokina
Fig. 5. Fazle Shairmahomed, Goddess Coco and Paolo Yao, from Syncretism: Obia Woman/Creole Madonna. Photo: Noël Schut.
by Edward Akintola Hubbard
Fallen Leaves as a literary style and research methodology in the work of Vasily Rozanov
as a literary style and research methodology in the work of Vasily Rozanov by Katerina Sidorova
Fig. 5. Alexis Blake, 'rock to jolt [ ] stagger to ash', 2021. Performance, exhibition space with architectural interventions, dim lighting, fragrance, tabloid publication. Prix de Rome 2021. Photo: Daniel Nicolas.
The Role of the Olfactory Sense in Contemporary Art Experience - by Jonas van Kappel
Fig. 3 Katsushika Hokusai, Gohyakurakanji Sazaidô (The Turban Shell Hall of the Five Hundred Arhat Temple), from the series Thirty-Six Views of Mount Fuji, Edo period, c. 1832. Color woodcut, 25.4 × 36.9 cm. Dutch National Museum of World Cultures, Inv. Nr. RV-4067-4. While Japanese prints were best known for their two-dimensional effect, the influence of European linear perspective with a vanishing point can be seen here.
Rolando Vázquez Melken and the Stedelijk curators
Fig. 5. George Hendrik Breitner, Distribution of Soup, 1882. Watercolor and pencil on paper, 30 × 53 cm. Stedelijk Museum Amsterdam, gift of the Association for the Formation of a Public Collection of Contemporary Art in Amsterdam (VVHK), 1949. Breitner wrote that he wanted to be a “painter of the people,” like Vincent van Gogh, with whom he spent some time.
Introduction by Maurice Rummens and Ingeborg de Roode
Video still from Cauleen Smith, Space is the Place (A March for Sun Ra) (2011). Courtesy of the artist and Morán Morán.
by Loulou Oudshoorn