The 61st Venice Biennale, which opened May 9 and will run through November 22, was shadowed even before its five-person jury resigned nine days before the opening in protest of the participation of countries currently under investigation by the International Criminal Court for human rights abuses.
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It is one of the most indelible images of modern warfare: Five Vietnamese children run toward the camera, their faces contorted by pain and fear. Dark clouds of smoke hover in the background, as soldiers and combat photographers walk down the highway. The central figure is a 9-year-old girl, her naked, scrawny body burned by the napalm dropped by South Vietnamese forces that mistook the inhabitants of the village of Trang Bang for Vietcong.
Venice is a city of many wonders, and when the International Art Exhibition of La Biennale di Venezia opens in the Floating City every two years, those wonders are multiplied exponentially. The 61st International Art Exhibition of La Biennale di Venezia—“In Minor Keys” by Artistic Director Koyo Kouoh—is no exception.
Resin art has experienced a burst in popularity within the last few years, but what exactly is this miracle material, and is there a catch? Resin by itself is a viscous, flammable substance that can be either organic or synthetic. Most artists prefer epoxy resin, a synthetic type patented in the early 1930s.
Frieze New York returned to The Shed in New York, May 13–17, for its 15th edition, featuring 68 galleries from 26 countries, with a strong presence of Central and South American galleries. Throughout the week, the fair attracted 25,000 visitors from 75 countries.
In the late 1970s, Herbert Zapp, an executive board member of Deutsche Bank, then headquartered in Düsseldorf, West Germany, fell in with the maverick artist and teacher Josef Beuys. Beuys was in the midst of creating his seminal installation “Das Kapital: 1970-1977” for the 1980 Venice Biennale, articulating his belief that art, as an expression of human creativity, is the true capital.
There's no doubt that the statues by Baroque sculptor Gian Lorenzo Bernini were markedly sensual, which might seem paradoxical in the era of the Counter-Reformation and for an artist whose main patrons were part of the ecclesiastical aristocracy.
“Fridamania” is reaching new heights as museums, opera houses, and cinemas across continents celebrate the enduring legacy of Frida Kahlo in 2026. This collective reckoning with her highly curated self-image and body of work comes at a time when many are searching for personal meaning and unity in an age of simultaneous hyper-connectedness and geopolitical division.
Although museums have long housed clothing in “costume institutes” removed from their painting and sculpture galleries, a series of exhibitions and events is collapsing the distance between fashion and art this spring.
Since its start in 2009, Independent has been called the art world’s favorite art fair, and this year, there will be a lot more to like as it expands with a pair of major moves. This month, Independent’s contemporary art fair will migrate from its Tribeca digs to the much larger Pier 36 on the Lower East Side.
