“Me, you and the sunset” is on view in the Richards Rogers Gallery at Château La Coste until September 8. “Joel Mesler: Kitchens are good rooms to cry in” is at Lévy Gorvy Dayan in New York through July 26. The artist’s “Pool Party” remains installed at Rockefeller Center until July 21.

For Johnson, the exhibition ‘Nudiustertian’ is an exploration of his own very recent past, with the works representing part of his practice that developed between 2018 and the present.

You can find his works on the back of mass-market cereal packets, in leading museums and on sneakers. Some change hands for millions, and others are made in their millions. More than any other living artist, Brian Donnelly, known as KAWS, carries the Andy Warhol mantle of blending high and low art. Darius Sanai meets him in his New York studio.

Long Museum (West Bund), Shanghai is pleased to announce Joel Mesler: Spiritual Journey, the artist’s first solo museum exhibition in Asia—from February 19 to April 18, 2023. Encompassing around 50 paintings, the presentation will illuminate Mesler’s signature artistic style—characterized by bold colors, stylized patterns, bright figuration, and unique calligraphic scripts.

The large-scale series conveys an optimistic message focusing on the goodness and altruistic aspect of people, with the artist giving light to those whom we can rely on to lift us both emotionally and spiritually.

In a wide-ranging conversation held in October 2022, Smith and Gluibizzi discussed labor and class and their avoidance by the art world, the importance of getting the angle of a fishhook just right, and the impact that can be felt when we open art up to a painterly new broom.

Don Lemon interviews Rashid Johnson who is advocating for artists of color at the highest levels- artists who have traditionally faced barriers of access to cultural institutions

“How can a simple moment of leisure be a powerful statement? The New York artist talks about bringing her sitting art to Britain – and explains how the exploitation of ‘video vixens’ inspired her”

Nobody Puts Baby in the Corner revisits an image from Kass’s well-known series of paintings, feel good paintings for feel bad times. Using nostalgia and devices of appropriation, Kass drew upon aesthetic themes explored in the optimism of the mid-20th century artistic conventions and combined them with phrases lifted from pop culture.

LUX’s Chief Contributing Editor, Maryam Eisler, visits the gallerist-turned-artist in the Hamptons to speak with him about the under-layers of his eye candy paintings deeply rooted in childhood trauma, his switch from dealer to artist and his Jewish heritage

The exhibition presents a newly developed series of bronze sculptures and Seascape paintings, alongside Bruise Paintings and Surrender Paintings, the latter of which is the latest offering to evolve from the iconography of his long-established Anxious Men series.

On view for the first time, the artworks in Mental States introduce a lush camouflage pattern that engages Mesler’s signature style of bold color and bright figuration, and provides a backdrop for the artist’s artfully rendered calligraphic scripts, which here convey idioms, expressions of mental states, and elements of the subconscious.

Joel Mesler: Pool Party is an exhibition opening simultaneously in Palm Beach and in London that explores childhood memory and personal trauma contrasted with the joy and innocence that characterized the artist’s upbringing in Los Angeles during the 1980s.

The artist’s approach to the Black female form is rich with pleasure, but also looks beyond it.

Featuring combinations of photocopied pages from books, African masks, and handwritten text and gestural marks, the works in the Palm Beach presentation reflect Pendleton’s unique approach to abstraction and his engagement with history.

For the luxe interior of the Met Opera, Johnson created two 9-by-25 foot mosaic panels at his studio in Brooklyn, each titled “The Broken Nine.” Installed on the grand tier landings, they comprise chorus lines of imposing standing figures pieced together from thousands of fragments of colorful ceramics, mirror and branded wood, across which the artist has painted improvisationally in oil stick, wax and spray enamel.

With the sequential premieres of Beyond the Pleasure Principle in the gallery’s locations in New York, London, Paris, and Hong Kong, Thomas sets out to formally, spatially, and philosophically draw attention to the central study of her art: the power and desirability of Black women, and their presence, imprint, and legacy in global avant-garde visual culture.

Deploying both words and images, Mesler draws from childhood memories and life experiences, to make paintings that bring his private impressions into close contact with cultural touchstones and elements of universal human consciousness.

Adam Pendleton: Who Is Queen? transforms MoMA’s Marron Family Atrium into a dynamic arena exploring Blackness, abstraction, and the avant-garde.