Design You Trust
MARCH 11, 2022
His work has graced the National Museum of Fine Arts in Rio de Janeiro, Brazil; galleries in Paris, Barcelona and Tuscany; Spain’s famed La Semana Negra (The Black Week) Festival; advertising campaigns for Nike, MTV and Nissan; posters for The Green Mile and 2006 Winter Olympics; and magazines such as Entertainment Weekly and Spin.
Colossal
NOVEMBER 9, 2021
Matt Stuart, Trafalgar Square, 2004. Picture credit: National Gallery of Art, Washington DC: Gift of Mrs. Picture credit: All rights reserved by Fiskars Finland Oy Ab/Photographer Timo Junttila, Designer Oiva Toikka. Mixed media, Temporary installation at Towner Art Gallery, Eastbourne, UK. Picture credit: © Matt Stuart.
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Creative Boom
AUGUST 16, 2022
Mainstream publishing and media haven't always done a great job at representing the contribution made by black creatives to the British art scene. Others were not, so on occasion, they came together and made their own exhibitions or created their own gallery spaces. This book aims to right the balance and tells a compelling tale.
Colossal
JANUARY 22, 2024
But in 2004, the landowner decided to sell the property and called for the artwork to be dismantled. Currently in the process of revamping its indoor galleries, there will soon be a refreshed space to showcase work by visiting artists, with some new mosaics, too.
Colossal
MARCH 20, 2023
Thornton Dial, “Stars of Everything” (2004), mixed media, 248.9 Image © ARS, NY, and DACS, London 2023 Gallery view of Souls Grown Deep like the Rivers at the Royal Academy of Arts. Image © Estate of Mose Tolliver and DACS 2023 Gallery view of Souls Grown Deep like the Rivers at the Royal Academy of Arts.
Feature Shoot
OCTOBER 19, 2020
“We’re an empire now, and when we act, we create our own reality,” Karl Rove told the New York Times Magazine in 2004, under the guise of anonymity as a “senior advisor” inside the Bush II White House. ” “This 2004 quote from George W. Smoke Bomb. House of Worship.
Azure Magazine
JANUARY 5, 2024
In 2014, photographer Milos Bicanski revisited a series of venues constructed for the 2004 edition of the Olympics in Athens, Greece. While only a decade old, the buildings already resembled ruins: overgrown with plants and utterly devoid of human life.
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