Source Juxtapoz Magazine – Juxtapoz Magazine – Home  Monya Rowe Gallery is pleased to present an exhibition of new paintings by Cindy Bernhard, the artist’s first exhibition with the gallery and in New York. The opening reception for the artist will be held on Thursday, May 4, 6-8 PM. This is the inaugural exhibition in…

Source Juxtapoz Magazine – Juxtapoz Magazine – Home  Perrotin New York is pleased to introduce Henry Gunderson’s debut exhibition with the gallery. Gunderson uses a variety of techniques in his paintings which explore the human psyche through the vocabulary of post-industrial American Pop Art landscapes. This exhibition will debut his House series, in which Gunderson…

Source Juxtapoz Magazine – Juxtapoz Magazine – Home  Julia Margaret Cameron was a pioneering female photographer of the 19th century, known for her portrait photography and her experimental use of light and composition. She pioneered the close-up and took photographs deliberately out of focus because she found them more beautiful that way. 

Source Juxtapoz Magazine – Juxtapoz Magazine – Home  The painting practice of Joe Cheetham defies static categorisation, fluidly adapting style and medium to articulate varied moments of human emotion. As such, Cheetham’s current exhibition Life is overtaking me can be perceived as a non-linear continuation of his first solo show at L21 “Something for the weekend”…

Source artforum.com  Four major funders—the Alice L. Walton Foundation, the Ford Foundation, the Mellon Foundation, and Pilot House Philanthropy—today drew back the veil on a new program aimed at increasing racial equity

Source Colossal   Image © Stefano Zanarello, shared with permission On a recent trip to Paris with his family, Italian photographer Stefano Zanarello traveled to the iconic Arc de Triomphe on an evening with a bright full moon. With a bustling street below, Zanarello waited about 1,300 meters from the famed monument, speculating that the celestial…

Source artforum.com  THE HISTORY OF VIDEO ART at the Museum of Modern Art, New York, begins in 1968 with Pontus Hultén’s sprawling exhibition “The Machine as Seen at the End of the Mechanical Age.” As suggested by its

Source artforum.com  Uniting prints and drawings by experimental composer John Cage as well as jazz pianist (and Houston native) Jason Moran, this cross-generational exhibition from two musical innovators-cum-visual artists