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π™°πš›πš πš πš›πš’πšπšŽπš›, πš‚πšŽπš—πš’πš˜πš› π™΄πšπš’πšπš˜πš› 𝚘𝚏 π™°πš›πš & π™Ύπš‹πš“πšŽπšŒπš π™Ώπš›πš’πš—πš π™ΌπšŠπš, πšŒπš’πšŒπš•πš’πš—πš πš•πš˜πšŸπšŽπš›, 𝚍𝚘𝚐 πš–πš˜πš– @artandcycling
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New issue if Art & Object is out now….thanks to all the contributors! Happy to bring on new contributors to the mag including @annbinlot @jobpiston @damiendavis @osmancanyerebakan and others πŸ’πŸ“ working on September now. by @katyhamer
16
18 days ago
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I wrote about the Critical Dialogue surrounding the 2026 Whitney Biennial @whitneymuseum curated by Marcela Guerrero and Drew Sawyer. @artandobjectonline β€’ The article was sparked by critique by Hilton Als, Aruna D’Souza, Ben Davis, William Van Meter and more. by @katyhamer
4
3 months ago
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Suburban Mom & Dad go out for hotdogs and ice cream. 🍦 by @katyhamer
7
3 days ago
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Who remembers β€œDiscovering Columbus,” by the Japanese artist Tatzu Nishi? It was on view via the @publicartfund in 2012. The artist constructed a room that was elevated high above Columbus Circle, allowing visitors to climb a staircase and experience Gaetano Russo’s 1892 statue up close and personal. The artwork, an architectural, public intervention, gave visitors the opportunity to witness the statue in a way that only birds would see normally see it. These images are aggregated from various sources. I love when artists have the opportunity to make something that shifts public and personal perception of space. In this case the historical, colonial figure was β€œbrought down” to more of a human-ish scale, removing the grandiose perception that is inevitable when an object is placed on an elongated pedestal. 

Did you experience this work in person? Can you believe that 2012 was fourteen years ago?? by @katyhamer
12
3 days ago
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Congrats to my former @sothebysinstitute student Marc Abasolo on opening his new exhibition today, β€œChrome Dreams of Elsewhere” @sprucegalleryph in Manila β€’ He has been meticulously painting cars for many years, but with this exhibition explores the subject through very particular cropped compositions that turn the cars into abstract, playfully surreal objects. Of course, the carousel starts with a painting featuring the @guggenheim New York, in the background. Congrats πŸŽ‰ @lapassionart πŸš™ by @katyhamer
5
7 days ago
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This painting by @guilhernunes_  was recommended to me and it’s pretty spot on. I’d like to think of Loki in a magical land riding a unicorn. πŸ¦„ 😍🐾🐩

Instagram, your algorithm has gone down, but my fyp has gotten better. Go figure! 🐩πŸͺ½ by @katyhamer
1
14 days ago
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I’ve always been fascinated by artwork that I’ve experienced in Europe that could never be shown in the US, including certain installations by Jannis Kounellis or Damien Hirst which use raw meat. In this work, Peanut Butter Floor (Pindakaasvloer, 1962/2026) by the late Wim T. Schippers requires 800 pounds of smooth peanut butter to be executed. It could never be shown in the US because too many people have peanut allergies, and I’m sure that it would be avoided in a public space (with public funding). What do you think about art that can be shown in other parts of the world, but not the United States? πŸ₯œπŸ₯œπŸ₯œπŸ₯œ

* I think we are missing out. by @katyhamer
4
15 days ago
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Bill Viola, *The Crossing, 1996, two-channel color video installation, with four channels of sound; 10 min., 57 sec.; performer: Phil Esposito

*Edited and music added….stay cool out there folks!! πŸ’¦ by @katyhamer
2
24 days ago
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Ryan McGinley’s πŸ³οΈβ€πŸŒˆPrideπŸ³οΈβ€βš§οΈ photos candidly shot for @nymag including @qween_jean the first trans person to win a Tony πŸ†

A quote from Ryan in the accompanying text caught my eye and I felt compelled to share a selection of images he took at the Drag March, Dyke March, the main March, and Queer Liberation March. πŸ³οΈβ€πŸŒˆπŸ³οΈβ€βš§οΈ

β€œIn the beginning I would shoot a roll or two of film casually for myself,” says McGinley. But now, he says, it’s become important to share the pictures far and wide. The Trump administration has spent the year methodically targeting the queer community, and New York hasn’t been spared β€” NYU Langone shut down its youth-transgender-care program after federal pressure in February. (On Friday, the mayor responded with a $15 million investment in trans health care.)”

Excerpt From
β€œScenes From New York Pride 2026” @ryanmcginleystudios @jacobmoscovitch 
New York Magazine by @katyhamer
0
a month ago
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Paintings by Cindy Bernhard from the exhibition, Broken Vessels, @platogallery β€’ I love Bernhard’s paintings, and this exhibition represents a time when the artist was struggling and references spiritual symbologyβ€”the body as a vessel. In this instance, the body is an imperfect container, beautiful yet fallible. They are reminiscent of another time and place, but a contemporary depiction of what we all (or many of us) seek in times of strife, answers from the divine. It’s on view through July 11, 2026. ~KDH 

Images courtesy of Plato Gallery 
@cindybernhard by @katyhamer
4
a month ago
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Still in my tree climbing/hanging phase. 🌳πŸͺΎ

Washington DC family trip…sometime in the 1980s! by @katyhamer
6
a month ago
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Last night House of Criticism debuted as part of the @tribeca film festival. Shining a light on @jerrysaltz & @robertasmithnyc The documentary explores the personal and romantic connection they share, along with their incessant, impassioned relationship to art and language. Approaching art from different perspectives, Jerry was a maker before being a writer, they ecstatically collide on the written page or the typed screen. Director Alison Chernick focuses less on their respective articles or opinions, instead allowing the camera (and editorial process) to weave a narrative, generously exposing vulnerabilities through the safety of the lens. Beyond being fueled by the Big Gulp (Roberta partakes too!), art is everything in their lives. Outside we are all flesh, inside we are organs, bone, memories, and spirit. β€œHouse of Criticism,” removes the criticism like the skin of an apple, and looks at the people in their full complexities, successes and triumphant brokenness. 

If art is a home, and home is a church, art is the deity that welcomes fanaticism and worship. Saltz and Smith helped pave the path that all contemporary art writers walk on. βœπŸΌπŸ‘©πŸ»β€πŸ’»πŸ‘¨πŸ»β€πŸ’»

#houseofcriticism @voyeur_films by @katyhamer
28
a month ago
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