Grace Gillespie grew up in an artistic household, but she resisted pursuing visual art at first, especially printmaking, because it was something both of her parents excelled at. “I guess I wanted my own ‘thing,’” she tells Colossal, which for most of her twenties was music. Then, during the pandemic, she found herself furloughed, disillusioned with the music industry, and back at her parents’ home in Devon, England.

During her six-month stay, Gillespie had access to a large etching press belonging to her mother, artist Sarah Gillespie. “I decided to try my hand at linocut and was immediately very addicted!” the artist says. “I was also just incredibly lucky that (my parents) had a lot of old lino and tools lying around—a bit ancient and rusty, but they did the trick.”

Gillespie was initially drawn to flowers because at the height of the summer, they exploded in her parents’ garden. She found solace and energy in their variety of colors and textures. “I think that both this newly found love of gardens and plant life, plus the new world of printing, really saved me through some quite tricky times around the pandemic,” she says. “I had left music mostly behind, moved house, and realised I had an anxiety disorder all in the space of a few months, and printing really helped to pull me through and keep my brain inspired to create.”

Reduction printing, the technique of carving away at the surface of linoleum or wood to create surfaces that can be layered, inspired Gillespie to play with color and complexity. “I absolutely love the surprise of when you lift the paper and reveal a print… sometimes a surprise mistake!” she says. “It’s a funny process and a lot can go wrong…. But it does make it all the more satisfying when you peel back the paper to reveal something really juicy and satisfying.”

See more on Gillespie’s Instagram, and check out her shop on Etsy to purchase prints.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Grace Gillespie’s Vibrant Linocut Prints of Flowers and Foliage Tap Into Her Artistic Roots appeared first on Colossal.

British artist David Hockney famously quipped, “Art has to move you and design does not, unless it’s a good design for a bus.” Contemporary Art Underground, a forthcoming book from Phaidon posits that these two facets of visual culture are a match made to move us indeed.

Authored by Sandra Bloodworth, who has directed MTA Art & Design for over 30 years, along with deputy director Cheryl Hageman, the volume showcases more than 100 permanent installations undertaken between 2015 and 2023.

Part catalogue and part field guide, Contemporary Art Underground emphasizes the power of visual art in the places we transit through every day, highlighting how works by greats like Alex Katz, Derrick Adams, Katherine Bradford, and many more, create a more pleasant and thought-provoking civic experience, transforming the network of subway stations into a highly accessible, one-of-a-kind museum.

Some of the most recent additions to the MTA collection are two mosaics by Yayoi Kusama and Kiki Smith in Manhattan’s brand new Grand Central Madison station. In 2022, Nick Cave completed an immense mosaic and video installation at the Times Sq-42 St. subway titled “Each One, Every One, Equal All,” which features dancing figures evocative of the artist’s Soundsuits. And in the busiest entrance of the Grand Central-42 St. station, commuters reflect on a colorful, mirrored glass piece by Jim Hodges titled “I dreamed a world and called it Love,” which spans the width of the hall.

Contemporary Art Underground is slated for release on April 24. Pre-order your copy now on Bookshop.

Kiki Smith. Photo by Anthony Verde Photography

Derrick Adams. Photo by Emil Horowitz

Damien Davis. Photo by Etienne Frossard

Katherine Bradford. Photo by Jason Mandella

Alex Katz. Photo by Etienne Frossard

Nick Cave. Photo by Photo by Trent Reeves

Jim Hodges. Photo by Felipe Fontecilla

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article ‘Contemporary Art Underground’ Celebrates How MTA Art & Design Builds a Modern Museum for New York City appeared first on Colossal.

Does anyone else miss art school? The sweet smell of invasive ceramic dust, the satisfying scrape of fresh charcoal across a giant sheet of Strathmore, the mortifying class-wide critique of your meager attempt at drawing a poorly-lit vase that you really should have spent more time on but you were partying all night at Avery’s “performative art sequence” at that creepy abandoned carwash. Except for that last part, which definitely never happened to anyone on our staff, we love art education.

In our publishing and programming, we strive to inform and teach with the goal of growing communities of like-minded people who believe in humanity’s vast creative potential. If we can’t be in art school forever, maybe Colossal is the next best thing.

That’s why we’re excited to announce our new partnership with Domestika to connect you with even more practical art and craft learning opportunities (without any mortifying critiques!). Our first semester gets down and dirty as we focus entirely on earthenware with the Colossal Ceramic Class Bundle.

Longtime Colossal readers will recognize quite a few of the artists Domestika tapped to share their practices through online courses. Learn to embellish humble vessels using floral imprints with Hessa al Ajmani, create ceramics with character with Sandra Apperloo, learn the basics with a wildly popular class by Paula Casella Biase, and explore the surreal with sculptor Tomas Barcelo. All at your own pace and from the comfort of your home.

So what are you waiting for? Seize the clay! Throw that slab of stoneware on your keyboard, roll up your sleeves, and dive in with the Colossal Ceramic Class Bundle. A portion of every course enrollment supports independent art publishing here on Colossal as well as supporting the artists you’re learning from. Talk about a win-win.

Creating Ceramics with Character, a course by Sandra Apperloo.

Ceramics with Floral Imprints: Make Functional Tableware, a course by Hessa Al Ajmani.

Clay Modeling and Assembly with sculptor Tomas Barcelo.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Colossal + Domestika: Develop Your Skills and Learn New Ceramic Techniques through Online Courses appeared first on Colossal.

At Hashimoto Contemporary’s Los Angeles gallery, there’s more than enough to go around. Nearly 50 artists have contributed to Potluck, a group exhibition opening this week that celebrates the joys, comforts, and disgusts of sharing a meal.

From paintings and drawings to ceramics to crochet, the show encompasses a wide array of tastes and preferences, presenting dozens of works that speak to eating and communal gatherings across cultures. Included are pieces by several artists previously featured on Colossal, including Lou Benesch, Liz Flores, Sara Hagale, Seonna Hong, and Kate Jenkins.

Potluck is now in its fourth iteration and on view from February 10 to March 2.

Bianca Foratori, “Cesta De Laranjas” (2023)

Carmen McNall, “Pomegranates #4” (2024)

Jess Ackerman, “Yellow Cake”

Kate Jenkins, “Sardines on Toast (Willow Pattern Plate)” (2022)

Lou Benesch, “Gather and Grow” (2024)

Sara Hagale, “Stockpile” (2024)

Seonna Hong, “Oranges and Watermelon” (2024)

Shannon Taylor, “Crab Dip (Eel)” (2024)

Taylor Lee, “Sharing Slices” (2024)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Bring a Dish to Pass: ‘Potluck’ at Hashimoto Contemporary Relishes the Joy of Gathering appeared first on Colossal.

Marion Pinaffo and Raphaël Pluvinage, a.k.a. Pinaffo & Pluvinage, have worked together since 2015, fascinated by the physics, mechanics, and even pyrotechnics of our ever-evolving technologies. During 2023, the pair produced three major projects exploring ephemeral interactions and shifting textures. “If we were to find a common thread among the three major projects… it would be soft, blurry, and challenging-to-control materials: smoke, sand, fabric,” the duo tells Colossal. “Each time, there is a play in mastering and manipulating these materials.”

Each piece begins with lengthy experimentation in the studio, toying with different substances and allowing trial and error to guide the process. “We spend a significant amount of time—several weeks—playing with the material we are working with, trying to discover interactions that are fascinating or surprising,” the artists say. They explore ways to surprise and delight the viewer, becoming what they describe as “specialists” in the interplay of materials:

When, after dozens of unsuccessful attempts, a “surprise” finally occurs on the corner of a table in the workshop, our entire work then becomes to sublime that moment—or rather to carry what is already sublime in that moment by nature—and to put the spectator in the position of one who discovers this surprise (spared from the 50 failures that preceded it).

Pinaffo & Pluvinage construct large-scale kinetic sculptures from modest supplies like paper, cardboard, and wooden battens. The duo relies on exquisite craftsmanship, playful color relationships, and the power of motion for site-specific installations like “Sfumato,” a collection of spinning wooden contraptions that emit spirals of multicolored smoke. The title refers to an artistic technique in which fine shading gradually transitions tones and hues, and the name of the technique itself is derived from the Italian verb sfumare, to vanish or fade away.

“En Cascade” (2023)

“Fanions et Carillons,” which means “pennants and chimes” in French, harnesses the air to elegantly move strips of colorful fabric that are attached to a large wooden armature. Small motors control the direction and timing of each spinning dowel, creating a colorful choreography of twirling ribbons.

In “En Cascade,” a hut-like structure contains an expansive grid of animated compositions that the artists activate manually by pouring quantities of sand through devices inside of the structure. The artists pushed the idea of humble materials even further for this work, challenging the strength and capabilities of the substrates and forgoing the use of electricity, a motor, or a computer. The artists’ decision to use sand took on particular significance:

When we chose sand as the material, there was a genuine desire to explore a substance that, at first glance, seems simple but has many things to discover and unveil: very peculiar physical and chemical phenomena—it is both a fluid and solid—and even incredible economic and environmental issues. Used in construction for making concrete, sand is becoming increasingly scarce, and its extraction has terrible consequences.

The sand used in “En Cascade” came from a beach 40 meters from the gallery and was redeposited once the exhibition concluded.

“Fanions et Carillons” is currently on view through March 4 at Fontevraud Royal Abbey in Fontevraud-l’Abbaye, France. Watch videos of the pieces in action below, and find more on the artists’ website, Vimeo, and Instagram.

Interior view of “En Cascade”

“Sfumato”

“Sfumato”

“Fanions et Carillons” (2023)

Detail of “Fanions et Carillons”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Site-Specific Kinetic Installations by Pinaffo & Pluvinage Channel Modest Materials Into Ephemeral Experiences appeared first on Colossal.

Marrakesh has a centuries-long history of attracting artists, makers, and writers, who are each drawn to the Moroccan city due to its vibrant and deep-rooted creative scene. Though it has long been on the map (Yves Saint Laurent and Pierre Bergé were among the famous part-time émigrés in the last century), in 2024, the capital is offering more platforms for discourse and social experiences than ever before.

The mainstay by now is the popular 1-54 Contemporary African Art Fair, which opens to VIPs this week, on February 8. The fair has expanded into two locations this year and will host 27 select galleries, including 14 from the African continent. The Moroccan art scene has been gaining further international attention thanks to the arrival of the fair, which was established in 2018; but it has been one pioneering event in a range of wider shifts as more commercial galleries, artist workshops, private spaces have been cropping up in recent years.

Restauranteur Kamal Laftimi grew up just off the central square Jemaa el-Fna in Marrakesh—he has spent his adult life creating dining experiences across the city that capture the essence of the historic square, based on his memories. Pétanque Social Club, his latest venture which saw him save what was a former a sports club venue from redevelopment, has attracted international praise from inside and outside the art world. The project was launched to tap into the thriving art community in the city, and it is often a watering hole for its power players. Attendees at its official unveiling included Yiman Erraziki, head of artistic programming at the Comptoir des Mines Galerie, collector Fatima Zohra Bennani Bennis, who is behind MCC Gallery, and artist Amine El Gotaibi.

Kamal Laftimi, courtesy DaDa

“The [art] scene has always existed, although it may have been more discreet and experimental,” Laftimi said over email. ”There were not many galleries and spaces previously, so artists acted as pioneers who opened up the path for a thriving art scene. The [Marrakesh] Biennale has also played a crucial role in drawing attention to Marrakesh as a vibrant hub for art and culture.”

Laftimi’s vision to offer a gathering site for the art world is well-timed, given that the 1-54 fair is continuing to grow in prominence. It is among a network of art-fueled spaces that tend to have open doors. “A lot of the artists who are based in Marrakesh have incredible studio spaces,” explained fair founder and director Touria El-Glaoui on a phone call. “The artists are often very open to receiving people who are visiting the city.” Their workspaces can be like “mini art spaces,” she says, and she recommends that people visiting the city seek out opportunities to visit artists on-site.

DaDa art space, 2023. Courtesy of Adnane Zemmama and 1-54 Contemporary African Art Fair.

Casablanca-born artist Amina Agueznay, who has an exhibition opening this week at DaDa art space, an independent multidisciplinary art venue that Laftimi opened in 2019, noted that Marrakesh is essential to igniting her creativity. Agueznay makes large installations in collaboration with artisans, combining her sculptural practice with the skills of traditional Moroccan makers.

The artist, who is represented by Loft Art Gallery, said new galleries are adding to the buzz, but that the key to the capital’s creative heart is the talented artisans working with traditional techniques. “We call our artisans ‘the treasures’ because they are truly artists,” she explained over the phone. “I always talk about these bridges between handicraft, art, and design, and architecture. Here, in Marrakesh, you can meet some real artisanal artists—and that’s exciting.”

1-54 Marrakech 2019 © Katrina Sorrentino

A major change in the city is the increase in the number of private art spaces and commercial galleries. In addition to DaDa art space, other locations, like LE18, which participated in Documenta 15, and MCC Gallery, which represents the artist and designer Louis Barthélemy, have opened in recent years. MCC’s rostered artist El Gotaibi took on the coveted Somerset House courtyard installation at London’s 1-54 art fair in 2023: Illuminate the Light (2023) saw the artist install 12 metal forms in which people could sit. They lit up as dusk fell. These galleries now accompany slightly older venues like Galerie 127 and Galerie SINIYA28.

Marrakesh’s art scene is, crucially, not only interested in fostering connections overseas; collaborations with other African centers are also in focus. Fondation Montresso, which opened in 2009, collaborates with 1-54 through the program In-Discipline, which promotes artists and conversation about art from the African continent; it has featured work from Benin, Ivory Coast, Congo, and Atlanta.

Moataz Nasr, The Mac Gate, (2019). Photo © Nicolas Brasseur. Courtesy of 1-54.

This year, the collaboration will be with Senegal and the foundation is planning to present “Mutations,” an exhibition featuring six Senegalese artists, including Arébénor Basséne, Aliou Diack, and Mbaye Babacar Diouf. After presenting at 1-54, the exhibition will transition to the foundation where it will remain on view until April 2024.

Estelle Guilié, artistic director at Montresso, thinks Marrakesh’s mix of being small and accessible, but international, is its key asset. “I think we started seeing a strong ecosystem coming together in Marrakech maybe six or seven years ago,” she said over the phone. “More people come with the intention of discovering art in Marrakesh because of the connection to the past and an eye on the future in an increased interest in art from Africa.”

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Although we’re not the biggest fans of social media and prefer to connect with our lovely and talented audience directly on this website, via newsletters, or in person, we’ve discovered meaningful engagement in a few of the newer social platforms like Mastodon and Threads where we can reach readers with little or no algorithmic filters.

Lately, we’ve found more promise in Bluesky than any other platform created in the last few years. If you enjoyed the experience of Twitter pre-2022, it might be worth checking out. Bluesky just removed its invite-only requirement so you can sign up for an account and start kicking the tires immediately. Not sure who to follow? We started a growing list of artists, galleries, museums, and other culture publications we’re interested in. Check out Art and Visual Culture on Bluesky. See you there.

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For various, much-cited reasons to do with what was going on in the wider world, 2023 wasn’t a great year for the international art market. But 2024 promises to be better. At least, that’s what some experts are predicting—or hoping.

According to the 2023 A Year in Review report by the London-based art market analytics firm ArtTactic, auction sales of Old Master, Impressionist, Modern and contemporary works at Sotheby’s, Christie’s and Phillips—the key publicly available indicators of health (or otherwise) in this particular industry—dropped 27% last year, to $5.76bn. The firm “largely” attributed this result to “a 30% fall in the number of $10m-plus lots entering the market in 2023”.

Will the supply of trophy lots improve in 2024? “There are a number of exciting collections that will be unlocked,” said Bonnie Brennan, Christie’s president of the Americas, during the company’s annual conference call with journalists last December. It only takes the sale of a few major single-owner troves to create perceptions of a boom, regardless of what might be happening—or not—elsewhere in the trade.

Horrific wars are grinding on in the Middle East and Ukraine, but with the S&P 500 index of US equities up 24.7%, the Nasdaq Composite index of tech stocks up 44.5% and Bitcoin up by more than 150% by the end of 2023, plus the US Federal Reserve and other central banks predicted to reduce interest rates in 2024, the financial backdrop would now seem to be more conducive to rich collectors getting richer, and perhaps buying and selling more big-ticket art.

But interestingly, there are also predictions of resurgence further down the price chain. ArtTactic’s report states that the lower end of the market remained “very active, with an 18% increase in the number of artworks sold below $50,000” last year.

In December, the influential New York art adviser Josh Baer pronounced in his trade insiders’ newsletter, The Baer Faxt: “Everyone has acknowledged an art market correction, but let us be the first to predict an upcoming bull market.”

Baer expects this new surge of sales “will be more in terms of volume rather than price”, boosted by generational shifts in capital, growing wealth inequality, a comeback for NFTs, lowered interest rates and a lot more cash and buyers entering the market. “The collector pool is still in the mid tens of thousands, but imagine, say, 200,000 to 300,000 collectors,” Baer adds.

‘Conversion problem’

Art world professionals have long hoped for a game-changing expansion of a market whose overall sales have stubbornly fluctuated between $57bn and $68bn since 2010, according to the estimates of the annual Art Basel & UBS Art Market report.

For the New York-based art economist, entrepreneur and author Magnus Resch, whose latest book, How To Collect Art, has just been published, the art trade has a serious “conversion problem”. Plenty of people look at art, but few actually buy.

“The art world is still a mystery to many. They don’t find answers to the three most important questions: What should I buy? Is the price fair? Is it a good investment?” says Resch.

“People go to an art fair, and they’re overwhelmed. About 80,000 go to Art Basel Miami Beach, and maybe 2,000 of them buy something. That leaves 78,000, of which maybe 20,000 have the financial means to buy at the fair,” he adds.

Resch estimates the market’s pool of “important” collectors, who spend more than $100,000 on art annually, at only about 6,000 individuals. Last year, the UBS Global Wealth Report estimated the global population of millionaires at 59.4 million.

Given the seeming colossal shortfall between those who can afford art and those who actually buy it, how can the market expand?

“Education plays a key role,” says Resch. “Dealers should show prices, and there needs to be an honest conversation about the market. People need to be aware that 99.9% of art isn’t a good investment. The art trade needs to be less VIP and more inclusive,” he adds.

Herein lies the central paradox of today’s art market. Resch’s refreshingly honest insider’s guide to collecting is filled with the author’s and fellow experts’ exhortations for newcomers to buy what they like and not worry about making a profit.

But How To Collect Art also looks like a business manual: there are no illustrations, and there is no discussion of the aesthetic value of any work. Although there are no “definitive criteria” to clarify what good art is, Resch writes, art is “susceptible to economic analysis as much as any other product”, meaning collectors, like home stock traders, should rely on data to identify which artists might be a good investment.

So collecting art becomes a names and numbers game that, apparently, is very difficult to win. Which is probably why 78,000 people turn up to an art fair to window shop, rather than actually shop, and one key reason why the market fails to meaningfully expand.

A new Gilded Age?

Today’s levels of wealth inequality—generally a boon for top-end art prices—have prompted comparisons with the age of the Robber Barons. In 1890, 11 million of the US’s 12 million families lived below the poverty line, while magnate collectors like Henry Clay Frick, Henry Huntington and John Pierpont Morgan spent fortunes on paintings by famous European masters that enhanced what the sociologist Thorstein Veblen, in his 1899 study The Theory of the Leisure Class, identified as their sense of “reputability”.

But as Douglas Rushkoff, the author of Survival of the Richest: Escape Fantasies of the Tech Billionaires, pointed out in The Guardian, today’s digital Robber Barons, unlike their Gilded Age forebears, “don’t hope to build the biggest house in town” but rather the biggest “colony on the moon, underground lair in New Zealand or virtual reality server in the cloud”. This makes collecting art, let alone building museums, generally surplus to the reputations of the new breed of ultra-confident, ultra-rich entrepreneurs.

Yet the Great Wealth Transfer, the process by which an estimated $15 trillion or more of assets will pass down the generations by 2030, is still regarded by many in the art trade as a serious dial-mover.

Certainly the dynamics of tax-optimised inheritance have recently been responsible for some spectacular single-owner auctions, such as the $1.6bn Paul Allen sale at Christie’s in New York in 2022 and the $425m Emily Fisher-Landau sale at Sotheby’s in New York last November. Further high-value “boomer” generation collections may well bump up the market’s headline numbers this year, as Brennan of Christie’s expects.

And then there is that potential new wave of younger buyers who have either inherited considerable wealth or made money for themselves. Christie’s statement on its end-of-year results highlights a “65% rise in new Gen Z buyers (driven by handbags, watches and prints)” and Millennials making up 34% of all new buyers.

“The top end of the art market will see a gradual shift and a new generation should step in. But it will be interesting to see to what extent this younger generation shares the same interests as the old guard,” says Anders Petterson, the founder and chief executive of ArtTactic.

ArtTactic’s research does show that auction sales of prints and limited editions—a sector favoured by younger art buyers—generated $103.2m last year across Christie’s, Sotheby’s and Phillips, an increase of 18.3% on 2022. “Instantly recognisable images by established names can be bought at affordable price points,” says Petterson, who nonetheless concedes that these days even a $20,000 Damien Hirst print has become unaffordable to the professional class of collectors who used to underpin the art market.

“The disposable income of the middle classes has been squeezed,” Petterson says. “They don’t have the same amount of funds for recreational, non-essential spending.”

Back in the days of those Robber Barons it was not just the super-rich whose walls were crammed with art. Thousands of middle-class homes in thousands of cities and towns across North America and Europe were routinely decorated with collections of original pictures or limited-edition prints.

The habit of living with art has fallen out of fashion across almost all income levels. If 300,000 new buyers are going to enter the market, a lot more people with plenty of disposable income will have to start collecting and stop worrying about possible financial returns. But in an age when education, a career, housing, childcare, healthcare and pretty well every aspect of life in a neoliberal economy is required to be a sensible investment, can that particular genie ever be stuck back in its bottle?

From the ocean floor to high above the cloud line, the Sony World Photography Awards 2024 offers a truly global approach to image-making.

This year’s competition garnered 395,000 images from more than 220 countries and is incredibly diverse in subject matter and location. Jair Fernando Coll Rubiano transports us to Colombia’s annual Black Child of God celebration, while Mitul Kajaria documents the efforts of a women’s collective to improve the lives of impoverished families. Others focus on the natural world, like Seongmin Park who captures the primal bond between parent and child.

The photos shown here are on several shortlists, although the overall winners will be announced later this spring and on view from April 19 to May 6 at Somerset House in London.

Bibek Kunwar, Nepal, Winner, National Awards, Sony World Photography Awards 2024

Connie France Calderon Martel, Peru, Shortlist, Latin America Regional Awards, Sony World Photography Awards 2024

Diana Buzoianu, Romania, Shortlist, Regional Awards, Sony World Photography Awards 2024

Mahdin Shafiq Omi, Bangladesh, Winner, National Awards, Sony World Photography Awards 2024

Masayuki Hirata, Japan, 3rd Place, National Awards, Sony World Photography Awards 2024

Mitul Kajaria, India, Winner, National Awards, Sony World Photography Awards 2024

Seongmin Park, Korea, Republic Of, 2nd Place, National Awards, Sony World Photography Awards 2024

Tijana Morača, Serbia, Shortlist, Regional Awards, Sony World Photography Awards 2024

Tomáš Havrda, Czech Republic, Winner, Regional Awards, Sony World Photography Awards 2024

Tran Tuan Viet, Vietnam, Winner, National Awards, Sony World Photography Awards 2024

Vinaya Mohan, United Arab Emirates, Winner, National Awards, Sony World Photography Awards 2024

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article The Sony World Photography Awards 2024 Celebrate Childhood Joy and Fiery Festivities appeared first on Colossal.

A few weeks ago, we shared the illuminating book Frida Kahlo: Her Photos, which was recently reissued by Editorial FM. Join us on February 20 for a conversation with the book’s editor, Pablo Ortiz Monasterio, who was asked to curate an exhibition of images from Kahlo’s vast archive of photography, never before seen by the public.

Hidden for decades within a bathroom in La Casa Azul in Mexico City (the artist’s famous home, now the Frida Kahlo Museum), the collection contained more than 6,000 photos taken by and belonging to the artist and her husband Diego Rivera. Monasterio ultimately gathered 401 of the most significant findings in the book, now in its third printing.

The virtual conversation is free and open to the public. Register to reserve your seat.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Join Colossal for a Book Talk with Pablo Ortiz Monasterio On ‘Frida Kahlo: Her Photos’ appeared first on Colossal.