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sean suchara

@sean_suchara

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•Visual Artist and Illustrator
•Illustrator for @nyreviewofarch
Available for Commission and Collabs:
✉️[email protected]
POSTS STORIES REELS TAGGED
“Like any avidly online Lavrentiy Beria enthusiast, the book’s editors aver that theirs is the correct Marxism and others, particularly those more concerned with the quotidian political concrete, are deficient in the true understanding of Marxian thought.” Owen Hatherley dusts off the dialectic in NYRA no. 51. “The number of architects—including some famous ones—who have been members of Marxist organizations of one sort or another is extensive. Lina Bo Bardi, Ernő Goldfinger, André Lurçat, Hannes Meyer, Oscar Niemeyer, Mart Stam, to invoke a few Great Men and Great Women, were all very public Communists. A handful took this as far as clandestine or armed struggle, like Margarete Schütte-Lihotzky, detained in a concentration camp for her work in the anti-Nazi resistance, or Huỳnh Tấn Phát, a guerrilla who led the Vietnamese National Liberation Front into Saigon in 1975 and was also the architect of streamlined villas before the war and of Brutalist theaters after it. For some, their architecture was incidental to their socialism; for others, it was intrinsic. You will find none of these people, bar a dismissive swipe at Niemeyer and an equally brief but complimentary name-check of Schütte-Lihotzky, in Mark Crinson and Luisa Lorenza Corna’s edited collection STRUGGLES IN THE CONCRETE: ARCHITECTURE AND THE MARXIST TRADITION (2025). Marxism here is not necessarily a revolutionary political project, in much the same way as architecture is not necessarily buildings. Instead, it is a multifaceted academic discipline: a philosophical system and an interpretative method, a political economy and a social ecology. That is, it is 'Western Marxism,' the Marxism of theory-eaters like the Historical Materialism conference and journal franchise, the Marxism that is the bugbear of young neo-Stalinists for whom critical theory was an invention of the CIA.” (link in bio)
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Another @newyorkrenaissancefaire for the books ⚔️ 🖤Despite the rain this was probably our best year yet! ✨ more photos to come! #newyorkrenaissancefaire #renaissancefaire
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Introducing NYRA no. 51: Cup, cone, or inverted zigguRAT? Issues are on their way to our subscribers. Not yet a subscriber? Become one today and get the scoop from NYRA in your mailbox. ESSAYS Thomas de Monchaux roasts the NewMu’s starchy starchitecture in “Hot Potato, Kool Potato.” James Andrew Billingsley is too cool for pool in “Plus Ça Change.” Audrey Wollen follows Michael Sorkin’s foosteps in “Walk and Talk.” Sam Fentress seeks an audience with the toparchs of topiary in “Hedgelords.”Aaron Timms gives Etihad Park the bird in “Fowl Play,” the fourth essay in NYRA’s ongoing PANENKA series. REVIEWS Mario Carpo recounts a life among grocers in “Affairs of the Cart.” Olivia Oldham irons out Wages for Housework in “The Theoretical Housewives of New York City.” Lari Rutschmann pushes back on PowerPoint urbicide in “Sunset, Sunrise.” Owen Hatherley dusts off the dialectic in “Question Marx.” Huw Lemmey considers Antifascist Architecture in “Partisan Review.” Jennifer Kabat maps the terra damnata of managed retreat in “Flood Meridian.” Beatrice Loayza samples an uncanny canon in “Horrors d’Oeuvres.” Kannan Mahadevan woke up this morning, got himself a pun in “Casa Nostra.” AND SO MUCH MORE! Jo Livingstone is litorally obsessed in BUILDINGSROMAN. Eric Schwartau has a meet-Brut in CATTY CORNER. Nicolas Kemper voyages to Now Voyager in PUBLISHERS NOTED. Jackson Arn, Sammy Biglin, Isabel Cristo, Clare Fentress, Zack Hatfield, Kim Hew-Low, Izzy Kornblatt, Thomas de Monchaux, and Elmo Tumbokon get fast and loose in SHORTCUTS. LETTERS AND REPLIES from Casey Mack, George Claflen, Mark Krotov, and Paul Goldberger. Illustrations by Lauren Martin, Jason Adam Katzenstein, and our cover artist Sean C. Suchara.
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What soilpunk stories does Emily Davis aka Hyphae (@hyphaeprincess) recommend? “These picks show the Earth as our ancestor, always providing the wisdom that we need to move forward to a harmonious future.” Hyphae recommends: 🤎🌾 “Like Salt Marshes, Like Yourself” by Su J. Sokol (@sujsokol), illustrated by Sean Suchara (@sean_suchara) — Issue 5: Underground 🤎🍄‍🟫 “Sporesong” by Genesis Whitlock (@s8larfunk), illustrated by Olivia Twist (@yesoliviatwist) — Issue 3: Something’s Rotting 🤎🐻‍❄️ “Ancestor’s Gift” by Chisom Umeh (@umeh_chisom), illustrated by Zélie Durand (@zelie_durand) — Issue 1: Generation Read them on Tractor Beam @ link in bio! And tell us: what’s a story that makes you think about a future that looks like the past? #soilpunk #solarpunk #bookstagram #bookrecs #climatefiction
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When Otto takes your order a little too seriously… 😯🤣 #GrindstoneDonuts🍩 ft. @kaptainkimbo_ Open daily both locations, just don’t order “what he’s having” 🤝
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Professional Donut Model @kaptainkimbo_ enjoying some delicious donuts at our East Hampton location. As a reminder, we have a cute little patio in the back of our EH Store that you can hang out in the sunshine and get some work done or just relax and eat some goodies with a nice Latte. #GrindstoneDonuts🍩 #DonutModel
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a day at the end 🌻 🌊💿☀️#montauk
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i used to pray for times like this 🙏
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“‘It’s getting fucking impossible to make physical things,’ said Niccolo Porcello as we walked up Ninth Street in Long Island City, carrying about five hundred copies of the NEW YORK REVIEW OF FINANCE (NYRF) to the magazine’s Wednesday evening launch party in a subterranean bar in the Financial District.” Nicolas Kemper takes stock of the NEW YORK REVIEW OF FINANCE in NYRA no. 50. “NYRF is a brand-new review. Its first issue appeared on November 19, 2025. In our arms was the second. NYRF might not have happened without us—that is, without NEW YORK REVIEW OF ARCHITECTURE. Its cofounders—Porcello, Michael Nicholas and Paige Oamek—started talking about making a magazine last summer while playing for the NYRA softball team. Possibly the ultimate meet-cute. It also might not have happened without the building we had just exited—that is, Stellar Printing. None of NYRF’s founders have a background in finance or even strong connections to the Financial District. Porcello says he goes to Manhattan only once every three months. But they do share a commitment to publishing something tangible. ‘If something is on the computer or on the phone, personally my eyes are often glazing over,’ Oamek told me. Porcello, as we lugged our issues onto the subway toward Manhattan, said, ‘People engage more with pieces that are not entangled with the soup that is the phone.’... Stellar stands two blocks east of the East River, between the gigantic Ravenswood generating station—responsible for a fifth of New York City’s electricity—and the sprawling Queensbridge Houses—the largest public housing campus in the United States. Stellar’s current home, built in 1920, is a simple set of industrial brick boxes with girder roofs, three loading docks, and a motor court.” (link in bio)
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CALLING ALL NEW YORK ARTISTS! 🧑‍🎨 Ready to see your artwork blown up into a larger-than-life, 6ft x 6ft outdoor installation? 📢 The @longislandpublicartsfest (LIPAF) is officially accepting submissions for our next exhibition stop: Geiger Park in Deer Park, NY! Whether you specialize in digital painting, illustration, photography, mixed media, or traditional fine arts, we want to bring your unique creative voice out of the studio and directly into the community. 📍 Exhibition Location: Geiger Park — Deer Park, NY 🚨 Application Deadline: Friday, July 24th 👉 How to Apply: Click the link in our bio or visit www.longislandpublicartsfest.com to submit your work today! Proudly presented in partnership with @babylonartsny (BACCA), @colored.colors and the Suffolk County Office of Cultural Affairs (SCOCA)
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“A capsule was less a portal of restorative calm or creative incubator than a convenient pad to sleep off a drunken night on the town, far away from the wife and kids.” Casey Mack encapsulates the Nakagin Capsule Tower in NYRA no. 50. “Even if you’ve never heard of Metabolism, you’ve seen Kisho Kurokawa’s Nakagin Capsule Tower (1972) in Tokyo’s Ginza district and likely noted the uncanny resemblance of its pods to commercial washing machines. The firmness with which this pixel-like pile has lodged itself in the panorama of the last century’s visual culture is owed, in no small part, to an aggressive marketing campaign—reconstructed in one gallery of THE MANY LIVES OF THE NAKAGIN CAPSULE TOWER at the Museum of Modern Art. Pamphlets and brochures are chockablock with gaudily hued illustrations; a commemorative night-light recapitulates avant-garde architecture as kitsch commodity; and in a film produced by the builder, the Taisei construction company, the architect Kurokawa (seen sporting long black locks swept to one side plus a Beatles-y suit) and his equally groovy colleagues chain-smoke while casually extolling the “individualization” of society that their plug-and-play pied-à-terre project foretells. … Before it was permanently disassembled, Nakagin had fallen into a kind of cyberpunk decay that appealed to a milieu of DJs, designers, urban-weekender couples, tea obsessives, and dedicated hobbyists with disposable—but far from inexhaustible—incomes. Kurokawa’s notion that the capsule inaugurated a new social type—homo movens—turned out to be belatedly correct. The myriad lifestyles at home in a veritable ruin are conveyed in the show via video interviews with former capsule dwellers; survey photos of DIY renovated interiors, stripped or crammed at times beyond recognition; and a navigable three-dimensional scan of the building, captured on the eve of its destruction. Importantly, these documents were not commissioned by MoMA but are the self-initiated projects of Nakagin’s passionate fan base, including one-time residents.” (link in bio)
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“Cut to 2026. Mamdani has votemogged Cuomo and exorcised ex-Mayor Adams’s ghosting of Gracie Mansion. Though holecialism has not exactly caught on, there has been another phrase circulating among leftists to describe Mamdani’s political stylings: sewer socialism.” Eric Schwartau plumbs sewer socialism in NYRA no. 50. “I was initially drawn to the concept not because I’m a policy wonk but because I’m a homosexual. Sewer socialism suggested something sordid yet seductive, like a depraved underground sex party. Gays, given the right infrastructure (parties, PrEP, poppers), organize into a collective mass, connecting pipe to pipe in a kind of sociosexual system of fluid exchange. It felt soothing to think of socialism not as a scolding doctrine but as something that might seep up through the grates, joining us not only politically but physically, too. Mamdani and his social media machine seem to get that socialism needs sex appeal. In an age where posts are public infrastructure (see the terminally online @nycferry or increasingly unhinged @nygov accounts), the practice of socialism feels less like DSA indoctrination than a DTC subscription—a daily dose of Mamdanifil to ease our electoral dysfunction. Lately, that dose is targeting the outbreak of potholes after one of the snowiest years on record. Mamdani has bet big on hole filling, distributing ‘pothole politics’ signs during his hundred-days address at the Knockdown Center and celebrating his 100,000th hole filled—a total not even Basement’s best tops can top. But pothole politics is hardly new: Adams and de Blasio each made a public spectacle of their own milestone fills, and now Hochul has a plan to plug 125,000 holes upstate. And while the psychosexual dimension is certainly novel—@nygov posted to Instagram that they would ‘send ppl to annihilate that hole’—as politics go, fixing roads isn’t exactly reformist, let alone revolutionary.” (link in bio)
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