Tag: artist

Actresses Zoë Kravitz and Isabella Ferrari are featured in a series of new paintings created by Italian artist Francesco Clemente as part of Saint Laurent’s summer 2025 campaign. The portraits were commissioned by Saint Laurent creative director Anthony Vaccarello. The Belgian fashion designer said of Clemente in a press statement, “I could perfectly imagine my collection being portrayed by his poetic use of colors.”

The Saint Laurent campaign features Clemente’s portraits of Kravitz and Ferrari, along with works featuring models Penelope Ternes and Ajus Samuel. Each painting portrays its subject wearing a runway look from the Spring/Summer 2025 collection, including brocade jackets, lace ruffled blouses, and sharply tailored suits. The works, typical of Clemente’s Neo-Expressionist style, focus on femininity. “There is only one language of form, and it is the same as the language of tenderness,” Clemente said in a press release.

Born in Naples in 1952, Clemente became known in the 1970s and ’80s for his ephemeral portraits and exploration of contemporary identity. After relocating to New York in 1981, he quickly became acquainted with the likes of Keith Haring and Kenny Scharf, among others. His past collaborators include Jean-Michel Basquiat, Andy Warhol, American poet Allen Ginsberg, and filmmaker Alfonso Cuarón, with whom he worked on the 1993 adaptation of Great Expectations. His most recent solo exhibition was mounted by Lévy Gorvy Dayan in New York in fall 2024.

For previous campaigns, Vaccarello has tapped British fashion photographer David Sims, German artist Juergen Teller, and New York–based photographer Gray Sorrenti. The French fashion label has frequently collaborated with artists. In 2023, Saint Laurent supported Chinese artist Cai Guo-Qiang’s fireworks piece When the Sky Blooms with Sakura (2023) as a tribute to the 2011 earthquake victims.

In recent years, fashion brands have increasingly partnered with artists and supported art programs around the world. Earlier this month, Loewe announced a show of artist-designed teapots in Milan, coinciding with Salone del Mobile 2025. Meanwhile, Dior staged a show for its spring/summer 2025 haute couture collection alongside artwork by Indian artist Rithika Merchant, an alum of The Artsy Vanguard.

Featured artist Marianna Hornbuckle shares an ethereal collection of abstract paintings inspired by physics and space.

The post Featured Artist Marianne Hornbuckle appeared first on Artsy Shark.

Vibrant spheres seem to spill across the paper, creating trippy, symmetric compositions bursting with energy.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Geometric Scaffolding Structures Geoffrey Todd Smith’s Gouache-and-Ink Portraits appeared first on Colossal.

On April 2nd, U.S. President Donald Trump announced sweeping “reciprocal” tariffs on all goods imported to the U.S., which came into effect on April 9th before being paused for 90 days (with the exception of those on China) just hours later.

Long a part of Trump’s economic agenda, tariffs are taxes imposed on imported goods and are viewed by the president as a key part of growing the U.S.’s domestic economy.

In March, Trump proposed an initial series of tariffs on goods imported from selected countries. The announcement on April 2nd, however, was much more far-reaching: In addition to a sweeping 10% “baseline” tariff on all imported goods, the American president imposed additional, higher rates of up to 50% for more than 60 countries, including Vietnam (46%), India (26%), the U.K. (10%), and South Korea (25%). And the E.U. is subject to an additional 20% rate.

On April 9th, as countries affected by the tariffs scrambled to negotiate with the administration, Trump announced a 90-day pause for those affected by increased rates. What remains is a baseline 10% rate on all imports to the U.S., with the exception of those from China. Following retaliation to the initial tariffs, an escalating trade war means Chinese goods entering the U.S. will be tariffed at 125% (as of April 10th) after China raised its own retaliatory tariffs to 84%.

While the 10% baseline tariffs remain in place, the progress of negotiations between the U.S. and its trading partners will be watched closely over the next 90 days. These tariffs—and the uncertainty around their implementation—have already led to consequences and confusion for a range of industries, including the art market. While this temporary reprieve offers some relief, it’s unlikely to end the uncertainty.

Most important for the art industry is if, and how, artworks are affected. Here, we break down the current understanding of the position of artworks within these trade policies.

Is art affected by Trump’s tariffs?

Bubble Wrap, 2013
Elena Sisto

Bookstein Projects

Among art professionals and lawyers, the current understanding is that artworks are likely to be exempt from tariffs, though there is substantial confusion around the issue.

The main reason for this reading is that, according to a fact sheet issued by the White House on April 2nd, articles listed in 50 USC 1702 will “not be subject to reciprocal tariffs.” These include—but aren’t limited to—“artworks,” “photographs,” and “posters.”

What is meant by an “artwork”? The experts Artsy spoke to cited the definition in the Harmonized Tariff Schedule (HTS), which includes clear codes for traditional forms of art such as paintings, drawings, engravings, and sculptures.

It’s not clear, however, if those provisions apply to this new wave of measures. “While artworks have historically been exempt, recent executive orders and the legislation used to implement them have introduced uncertainty around whether that exemption still applies,” said Paul Donovan, chief economist at UBS Global Wealth Management. “The latest round of trade tariffs (the universal 10% tax on all imports into the U.S., and additional country-specific taxes) appears to include all artworks, though the categorization is inconsistent. It’s unlikely the complexities of art production and sale have been fully considered in current policymaking.”

There’s also the question of whether non-traditional art forms are covered by the HTS definition. “Categories with crossover appeal, like functional art, design pieces, or limited-edition works may find themselves navigating a grayer area,” noted Katrina Aleksa, art advisor and co-founder of the Association of Women in the Arts. Industry figures also noted that there may be problems categorizing digital and performance art.

Edouard Gouin, CEO and co-founder of art shipping firm Convelio, posits that there is a “70% chance that no tariffs will be applied to artworks.” In a note to clients shared with Artsy, Gouin put forward three primary reasons for this.

First, art is a “niche market, not a political target.” Unlike other industries that carry “significant economic or political leverage,” artworks are “not a priority,” like other sectors where “a lack of tariffs directly disadvantages American companies.” Second, the E.U., which “places significant importance on protecting the arts” has “strong negotiating power and will prioritize shielding its cultural sector.” The 27-country bloc, he noted, “is likely to push for exemptions.” Third, tariffs on artworks would be “self-inflicted damage for U.S. businesses.” Unlike other industries, such as automobile manufacturing, where production can be domesticated, “the art market deals in unique goods that originate from anywhere.” He added: “Tariffs on art would disproportionately hurt American art businesses more than any other country as it would restrict their ability to source the very inventory they rely on for sales.”

China, on the other hand, is not mentioned by Gouin, though he said he believes the country “will be targeted.”

Still, Gouin pointed out, there is a risk that art could be used as a “bargaining chip” in negotiations as talks progress. This could drive “collectors to buy abroad and store in freeports, ultimately benefiting storage companies outside the U.S.”

Indeed, as other countries negotiate with the U.S. following the 90-day pause, there is a chance that art becomes embroiled. The U.K., for example, published a list of U.S. products that could be targeted in retaliatory tariffs on April 3rd. This included “paintings, e.g. oil paintings, watercolors and pastels, and drawings executed entirely by hand” and “original sculptures.”

Meanwhile, as China and the U.S. inflict countermeasures on each other, previously exempted industries have been added to the list of goods being tariffed, such as films. As tensions rise, this could extend to explicitly include artworks.

Another important note: Tariffs—should they apply—are based on an artwork’s country of origin, or where it was produced. The artist’s nationality and the country from which the artwork was shipped may not necessarily affect the tariff applied.

Overall, the picture is one of uncertainty. “Art is a global business, and the biggest issue for the art market right now is that a lot remains unknown,” said Adam Baldwin, founder of London and Miami gallery Baldwin. “Markets don’t like uncertainty, but the impact of these tariffs, set against the broader macroeconomic environment in general, has, and continues to, create confusion.”

What other effects are the tariffs likely to have on the art market?

The Stock Market ceremony, Tokyo, 1961
William Klein

Polka Galerie

While the tariffs themselves have complicated matters in the art trade, the impact that Trump’s policies have had on the stock markets and global economy is also likely to have far-reaching implications until the matter is settled. Stocks, for instance, plummeted worldwide on the initial news of tariffs before rallying after Trump announced the pause less than a week later, illustrating the choppy economic waters. “Stock market volatility can influence decision-making across the art world—not just in collecting, but in how galleries, institutions, and artists allocate resources and plan ahead,” said Donovan.

The current economic volatility has led to substantial fluctuations in the spending power of the superrich. Bloomberg’s Billionaires’ Index showed a $208 billion decline in the combined wealth of the world’s 500 richest people on April 3rd, following the announcement of the tariffs—the largest one-day decline since the onset of the COVID-19 pandemic (it has since rallied following news of the pause). Fluctuations of this severity are likely to affect the sentiment among wealthy art collectors who may hold off on purchases until the volatility subsides or take longer to make sure they are not falling foul of any logistical changes. “In this environment, diligence is the new luxury. Savvy collectors and dealers are treating logistics with the same care they’d give to provenance,” noted Aleksa.

In the industry, international galleries are weighing their plans related to the U.S., as was the case when the first round of tariffs were proposed last month. Galleries based in the U.S., meanwhile, continue to consider the potential difficulties of showing and selling work by artists who are based in affected countries. “Even when artworks escape direct taxation, the surrounding ecosystem does not,” said Aleksa. “Elevated shipping costs, tighter customs scrutiny, and an air of economic uncertainty are all casting a longer shadow over international art transactions.”

There is also the logistical burden faced by galleries struggling to keep up with policies that are changing at such a rapid pace. Baldwin noted that his gallery is seeing “significant knock-on effects” when it comes to “ancillary services” such as paperwork and shipping, as well as customs. “Confusion seems rife,” he said. “Never in living memory have shippers and logistics teams been more crucial to the business.”

But the art market has shown remarkable resilience in such fraught moments before, from lockdowns to financial crises. Conversations with collectors, dealers, and art professionals reveal a collaborative and open-minded approach to the current situation. “The art market is no stranger to uncertainty and has consistently shown its ability to adapt,” said Donovan. His advice? “Stay informed, remain flexible, and plan conservatively.”

You can almost feel a swoosh of air as the paint cascades across the canvas in Jack Whitten’s Prime Mover (1974). In this abstract painting, Whitten’s eternal experimentation, something that was critical to his artistic practice, comes alive in a sweeping stroke. The smooth smear, a photographic blur made with paint, shows viewers the rapturous pace at which ideas, inspirations, and innovations traversed through his mind.

This work, from the motion-driven series, “Slab Paintings,” is featured in “Jack Whitten: The Messenger,” currently on view at the Museum of Modern Art. This retrospective examines 60 years of Whitten’s career through 175 paintings, sculptures, and works on paper that consider themes of race, war, consciousness, technology, jazz, and love.

Whitten was born in 1939 in Bessemer, Alabama and grew up in what he called “American Apartheid.” With stellar grades, he attended Tuskegee University with the intention of joining the military and becoming a doctor. But his call to create persisted, and he left Tuskegee to study art at Southern University in Baton Rouge, Louisiana. There, in the Jim Crow–era South, Whitten’s political consciousness was awakened. The viciousness of racism drove him to New York City, and in the fall of 1960, he began studying painting at the esteemed college Cooper Union. His peers included Norman Lewis, Romare Bearden, and Jacob Lawrence; he was friendly with jazz greats Miles Davis and Thelonious Monk, and he had close contact with lifelong influences Willem de Kooning and Arshile Gorky.

During this time, Whitten found jazz to be a trustworthy confidante while he developed his practice. For him, jazz’s experimental nature ran parallel to the intuition needed to create abstract art. By the late 1960s, he was deeply connected to the zeitgeist, creating artwork that reflected the American experience. His piece New York Battle Ground (1967) is filled with intense imagery, red explosions, and orange bursts floating over a blue sky; blood and death permeate the canvas. At that time, the Vietnam War had been ongoing for 13 years and was an inflection point for race issues in the U.S. Many Black Americans, who faced segregation and discrimination, found it difficult to support the war. As they struggled for basic rights like sitting at a lunch counter, they were being asked to risk their lives for the very country that oppressed them.

As the Civil Rights Movement created a tectonic shift in America, Whitten dove deeper into abstract expressionism with vibrant, intense, and emotional works. At this time, Whitten created a series, inspired by a 1957 encounter with Dr. King. One such work, King’s Garden #4 (1968), features a rich blend of plum purples, pomegranate reds, mustard yellows, and olive greens—a lush array of colors and brushstrokes in conversation with one another. The painting captures a world that Dr. King dreamt of, a place where color knows no bounds.

During the 1960s and ’70s, there was a rise in Black abstraction. Many artists found in abstract works a new pathway that wasn’t muddied with the histories of racism, sexism, and elitism. Nonetheless, Black artists like Sam Gilliam, Ed Clark, Alma Thomas, and Howardena Pindell often felt the double-edged sword of abstraction. They weren’t allowed in art’s elite spaces because of their race (and in some cases, their gender). At the same time, Black abstractionists were accused of not contributing to the political agendas of Black power, progress, and revolution. While Black figuration directly pushed against negative narratives about Black people, abstract works like Whitten’s were not interpreted as clear statements of protest in the same way. For Whitten, however, abstraction offered a radical space of imagination free from the oppression of racism. For Black abstract artists, to reimagine your space and yourself as limitless amid systemic racism was (and still is) wildly powerful.

Throughout the exhibition, it’s evident that curiosity, experimentation, and innovation were the core tenets of Whitten’s practice, which only increased over time. In Golden Spaces (1971), Whitten layered paint and used the serrated edge of a saw to create rippling grooves that reveal a spectrum of colors beneath. This technique caused the paint to lift off the canvas, breaking the deeply ingrained notion of paint as a flat, two-dimensional medium.

Another of his techniques was using his afro pick to comb through the layered paint. Whitten further revolutionized his process by inventing a tool called the “Developer,” a 40-pound wooden squeegee with a 12-foot-long base. He poured layers of paint and swept the Developer across the canvas, blending the colors in a way that created an almost photographic sense of motion. This labor-intensive technique produced effects the art world had never seen before. In Pink Psyche Queen (1973), layers of green and gray peek through a bubblegum-pink surface, with a triangle shape subtly positioned in the center. Whitten often used a carpenter’s blade to carve through thick layers of acrylic paint, introducing new methods of mark-making into the medium.

As “The Messenger” shows, Whitten transitioned to new experiments with paint, moving away from a wet palette to working only on a dry one. In this process, he employed “tesserae,” the foundational technique of mosaic. He layered paint sometimes seven inches thick, let it dry, then cut it into small pieces. He laminated the cubes of paint, which were transfigured into luminous tiles. Whitten then applied the tiles to a dry canvas with an adhesive. Whitten tried and tested several processes, such as freeze drying the paint cubes, sometimes pulverizing them to ash and dust, all of which was incorporated back into the paintings.

Whitten began his “Black Monolith” series in the late 1980s, and it became one of the most intensive and extensive bodies of work in his career. The series is a continuum of love letters to Black heroes and icons. Many of the pieces were made in honor of specific individuals, such as Maya Angelou, Muhammad Ali, James Baldwin, and W.E.B. Du Bois—people who, like Whitten, were prolific and left lasting impacts on Black culture and society as a whole. The series reached a new peak with Black Monolith III For Barbara Jordan (1998). Jordan, a lawyer and professor, was the first Black woman from the South elected to Congress. In this piece, Whitten developed another innovation, elevating the tesserae off the canvas, creating a gleaming mountain of peaks and valleys that reflect Barbara Jordan’s iconic life.

Jazz continued to inspire Whitten. In his practice, he made homages to John Coltrane, Miles Davis, and even named The Messenger (For Art Blakey) (1990), after the beloved jazz drummer that inspired him. Whitten thickened the paint, cut it into tiny black tiles, and applied it onto the canvas. He then splashed white paint over the tiles. The result is a series of supernovas bursting into stardust. Moved by the freedom of jazz, Whitten’s work suggests a wild cosmos, where anything is possible.

Atopolis: For Édouard Glissant (2014), is the crescendo of the exhibition. It is Whitten’s largest work, spanning eight panels, a masterful behemoth that uses the tesserae technique to build an intricate, glistening map. Whitten references Martiniquais philosopher Édouard Glissant’s theory of “Atopolis,” a powerful concept for people of the African diaspora, whose identity is often tied to having no sense of place. This work, made from thousands of acrylic tiles and casts, embedded with a range of media from aluminum to anthracite, creates a constellation of forms that imagines a new sense of place for Black identity. Whitten’s Atopolis represents a utopia comprised of myriad elements, a city born from the displaced, unanchored, and nomadic experiences of the descendants of the transatlantic slave trade. A place where all relationships are “thoroughly interconnected and egalitarian,” Whitten said. The work is an act of love, offering viewers who haven’t yet found their place in the world a blueprint to create a sense of belonging and home for themselves.

Whitten’s work, always labor-intensive and driven by innovation, has rightfully earned him a place in the pantheon of greatest abstractionists, as shown by “Jack Whitten: The Messenger.” The artist’s unrelenting passion and boundless curiosity fueled his courageous experimentation, enabling him to do what all great artists do—evolve.