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Artforum
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Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Installation views of "Adriano Costa: Fist" @ordet_, Milan, Italy, through July 4.
@adrianocostaluis
#Ordet
Installation views of "Adriano Costa: Fist" @ordet_, Milan, Italy, through July 4.
@adrianocostaluis
#Ordet
Installation views of "Adriano Costa: Fist" @ordet_, Milan, Italy, through July 4.
@adrianocostaluis
#Ordet
In Artforum's summer issue, Patrick R. Crowley goes deep on “Color Theories,” the HBO comedy special from the Whitney Biennial artist and former SNL writer Julio Torres. The show, in which Torres explores the abstract qualities of color, “is something akin to John Berger’s 1972 BBC series Ways of Seeing, a tour de force of visual literacy and Marxist critique—that is, if Berger were more like Pee-wee Herman mellowed out by a weed gummy.” Crowley argues that this “curatorial comedy” offers productive resistance against the authoritarian impulses of terminal capitalism: Torres’s color assignments—Dwayne “The Rock” Johnson is orange; lilac is being a mom; purple is being a stepmother—are not so much a rubric as an "invitation to participate in activities of worldmaking."
Link in bio.
Images:
–Color Theories by Julio Torres, 2026, still from a TV special on HBO. Julio Torres. Photo: Emilio Madrid.
––My Favorite Shapes by Julio Torres, 2019, still from a TV special on HBO.
––Saturday Night Live, 1975–, still from a TV show on NBC. “Wells for Boys,” Season 42, episode 8.
@marbleindex @spaceprincejulio
In Artforum's summer issue, Patrick R. Crowley goes deep on “Color Theories,” the HBO comedy special from the Whitney Biennial artist and former SNL writer Julio Torres. The show, in which Torres explores the abstract qualities of color, “is something akin to John Berger’s 1972 BBC series Ways of Seeing, a tour de force of visual literacy and Marxist critique—that is, if Berger were more like Pee-wee Herman mellowed out by a weed gummy.” Crowley argues that this “curatorial comedy” offers productive resistance against the authoritarian impulses of terminal capitalism: Torres’s color assignments—Dwayne “The Rock” Johnson is orange; lilac is being a mom; purple is being a stepmother—are not so much a rubric as an "invitation to participate in activities of worldmaking."
Link in bio.
Images:
–Color Theories by Julio Torres, 2026, still from a TV special on HBO. Julio Torres. Photo: Emilio Madrid.
––My Favorite Shapes by Julio Torres, 2019, still from a TV special on HBO.
––Saturday Night Live, 1975–, still from a TV show on NBC. “Wells for Boys,” Season 42, episode 8.
@marbleindex @spaceprincejulio
In Artforum's summer issue, Patrick R. Crowley goes deep on “Color Theories,” the HBO comedy special from the Whitney Biennial artist and former SNL writer Julio Torres. The show, in which Torres explores the abstract qualities of color, “is something akin to John Berger’s 1972 BBC series Ways of Seeing, a tour de force of visual literacy and Marxist critique—that is, if Berger were more like Pee-wee Herman mellowed out by a weed gummy.” Crowley argues that this “curatorial comedy” offers productive resistance against the authoritarian impulses of terminal capitalism: Torres’s color assignments—Dwayne “The Rock” Johnson is orange; lilac is being a mom; purple is being a stepmother—are not so much a rubric as an "invitation to participate in activities of worldmaking."
Link in bio.
Images:
–Color Theories by Julio Torres, 2026, still from a TV special on HBO. Julio Torres. Photo: Emilio Madrid.
––My Favorite Shapes by Julio Torres, 2019, still from a TV special on HBO.
––Saturday Night Live, 1975–, still from a TV show on NBC. “Wells for Boys,” Season 42, episode 8.
@marbleindex @spaceprincejulio
In Artforum's summer issue, Patrick R. Crowley goes deep on “Color Theories,” the HBO comedy special from the Whitney Biennial artist and former SNL writer Julio Torres. The show, in which Torres explores the abstract qualities of color, “is something akin to John Berger’s 1972 BBC series Ways of Seeing, a tour de force of visual literacy and Marxist critique—that is, if Berger were more like Pee-wee Herman mellowed out by a weed gummy.” Crowley argues that this “curatorial comedy” offers productive resistance against the authoritarian impulses of terminal capitalism: Torres’s color assignments—Dwayne “The Rock” Johnson is orange; lilac is being a mom; purple is being a stepmother—are not so much a rubric as an "invitation to participate in activities of worldmaking."
Link in bio.
Images:
–Color Theories by Julio Torres, 2026, still from a TV special on HBO. Julio Torres. Photo: Emilio Madrid.
––My Favorite Shapes by Julio Torres, 2019, still from a TV special on HBO.
––Saturday Night Live, 1975–, still from a TV show on NBC. “Wells for Boys,” Season 42, episode 8.
@marbleindex @spaceprincejulio
In Artforum's summer issue, Patrick R. Crowley goes deep on “Color Theories,” the HBO comedy special from the Whitney Biennial artist and former SNL writer Julio Torres. The show, in which Torres explores the abstract qualities of color, “is something akin to John Berger’s 1972 BBC series Ways of Seeing, a tour de force of visual literacy and Marxist critique—that is, if Berger were more like Pee-wee Herman mellowed out by a weed gummy.” Crowley argues that this “curatorial comedy” offers productive resistance against the authoritarian impulses of terminal capitalism: Torres’s color assignments—Dwayne “The Rock” Johnson is orange; lilac is being a mom; purple is being a stepmother—are not so much a rubric as an "invitation to participate in activities of worldmaking."
Link in bio.
Images:
–Color Theories by Julio Torres, 2026, still from a TV special on HBO. Julio Torres. Photo: Emilio Madrid.
––My Favorite Shapes by Julio Torres, 2019, still from a TV special on HBO.
––Saturday Night Live, 1975–, still from a TV show on NBC. “Wells for Boys,” Season 42, episode 8.
@marbleindex @spaceprincejulio
Pol Taburet, I failed when I woke up, 2026, oil on canvas, 86.6 x 86.6" @villa_medici Rome, Italy, through July 15.
@yves_ciroc
@pierpaolopancotto
#VillaMedici
Gerald Wartofsky, The Conjurer II, 2024, oil on canvas, 18 x 24" @james_fuentes_llc, New York, through June 19.
@wartofsg
#JamesFuentesGallery
Earlier this month, senior editor Alex Jovanovich spent several hours trapped in a plywood press box in front of the Metropolitan Museum of Art for the institution’s 2026 gala (dress code: “Fashion Is Art”). He left the event, mostly funded by the oligarchic Jeff Bezos and his wife, Lauren Sánchez Bezos, not dazzled but “weary and weirded out” by the ostentatious displays of wealth and power. “One blonde model offered her opinion on the gala’s theme,” reports Jovanovich. Her response: “‘Well, fashion is art because fashion IS art. You know?’”
To read more, visit the link in bio.
Images:
–Madonna entering the Met Gala. Video: Alex Jovanovich.
–People waiting in line to get into the Met Gala at New York’s Metropolitan Museum of Art on May 4, 2026. Photo: Alex Jovanovich.
–From left: Tom Ford, Heidi Klum, unidentified Met Gala staffer, and Emily Blunt. Photo: Alex Jovanovich.
–Kim Kardashian. Photo: Alex Jovanovich.
–Holes in the train of Katy Perry’s custom Stella McCartney gown. Photo: Alex Jovanovich.
–The author’s notebook at the press stable. Photo: Alex Jovanovich.
@mom_innovations_plus #2026MetGala
Earlier this month, senior editor Alex Jovanovich spent several hours trapped in a plywood press box in front of the Metropolitan Museum of Art for the institution’s 2026 gala (dress code: “Fashion Is Art”). He left the event, mostly funded by the oligarchic Jeff Bezos and his wife, Lauren Sánchez Bezos, not dazzled but “weary and weirded out” by the ostentatious displays of wealth and power. “One blonde model offered her opinion on the gala’s theme,” reports Jovanovich. Her response: “‘Well, fashion is art because fashion IS art. You know?’”
To read more, visit the link in bio.
Images:
–Madonna entering the Met Gala. Video: Alex Jovanovich.
–People waiting in line to get into the Met Gala at New York’s Metropolitan Museum of Art on May 4, 2026. Photo: Alex Jovanovich.
–From left: Tom Ford, Heidi Klum, unidentified Met Gala staffer, and Emily Blunt. Photo: Alex Jovanovich.
–Kim Kardashian. Photo: Alex Jovanovich.
–Holes in the train of Katy Perry’s custom Stella McCartney gown. Photo: Alex Jovanovich.
–The author’s notebook at the press stable. Photo: Alex Jovanovich.
@mom_innovations_plus #2026MetGala
Earlier this month, senior editor Alex Jovanovich spent several hours trapped in a plywood press box in front of the Metropolitan Museum of Art for the institution’s 2026 gala (dress code: “Fashion Is Art”). He left the event, mostly funded by the oligarchic Jeff Bezos and his wife, Lauren Sánchez Bezos, not dazzled but “weary and weirded out” by the ostentatious displays of wealth and power. “One blonde model offered her opinion on the gala’s theme,” reports Jovanovich. Her response: “‘Well, fashion is art because fashion IS art. You know?’”
To read more, visit the link in bio.
Images:
–Madonna entering the Met Gala. Video: Alex Jovanovich.
–People waiting in line to get into the Met Gala at New York’s Metropolitan Museum of Art on May 4, 2026. Photo: Alex Jovanovich.
–From left: Tom Ford, Heidi Klum, unidentified Met Gala staffer, and Emily Blunt. Photo: Alex Jovanovich.
–Kim Kardashian. Photo: Alex Jovanovich.
–Holes in the train of Katy Perry’s custom Stella McCartney gown. Photo: Alex Jovanovich.
–The author’s notebook at the press stable. Photo: Alex Jovanovich.
@mom_innovations_plus #2026MetGala
Earlier this month, senior editor Alex Jovanovich spent several hours trapped in a plywood press box in front of the Metropolitan Museum of Art for the institution’s 2026 gala (dress code: “Fashion Is Art”). He left the event, mostly funded by the oligarchic Jeff Bezos and his wife, Lauren Sánchez Bezos, not dazzled but “weary and weirded out” by the ostentatious displays of wealth and power. “One blonde model offered her opinion on the gala’s theme,” reports Jovanovich. Her response: “‘Well, fashion is art because fashion IS art. You know?’”
To read more, visit the link in bio.
Images:
–Madonna entering the Met Gala. Video: Alex Jovanovich.
–People waiting in line to get into the Met Gala at New York’s Metropolitan Museum of Art on May 4, 2026. Photo: Alex Jovanovich.
–From left: Tom Ford, Heidi Klum, unidentified Met Gala staffer, and Emily Blunt. Photo: Alex Jovanovich.
–Kim Kardashian. Photo: Alex Jovanovich.
–Holes in the train of Katy Perry’s custom Stella McCartney gown. Photo: Alex Jovanovich.
–The author’s notebook at the press stable. Photo: Alex Jovanovich.
@mom_innovations_plus #2026MetGala
Earlier this month, senior editor Alex Jovanovich spent several hours trapped in a plywood press box in front of the Metropolitan Museum of Art for the institution’s 2026 gala (dress code: “Fashion Is Art”). He left the event, mostly funded by the oligarchic Jeff Bezos and his wife, Lauren Sánchez Bezos, not dazzled but “weary and weirded out” by the ostentatious displays of wealth and power. “One blonde model offered her opinion on the gala’s theme,” reports Jovanovich. Her response: “‘Well, fashion is art because fashion IS art. You know?’”
To read more, visit the link in bio.
Images:
–Madonna entering the Met Gala. Video: Alex Jovanovich.
–People waiting in line to get into the Met Gala at New York’s Metropolitan Museum of Art on May 4, 2026. Photo: Alex Jovanovich.
–From left: Tom Ford, Heidi Klum, unidentified Met Gala staffer, and Emily Blunt. Photo: Alex Jovanovich.
–Kim Kardashian. Photo: Alex Jovanovich.
–Holes in the train of Katy Perry’s custom Stella McCartney gown. Photo: Alex Jovanovich.
–The author’s notebook at the press stable. Photo: Alex Jovanovich.
@mom_innovations_plus #2026MetGala
Earlier this month, senior editor Alex Jovanovich spent several hours trapped in a plywood press box in front of the Metropolitan Museum of Art for the institution’s 2026 gala (dress code: “Fashion Is Art”). He left the event, mostly funded by the oligarchic Jeff Bezos and his wife, Lauren Sánchez Bezos, not dazzled but “weary and weirded out” by the ostentatious displays of wealth and power. “One blonde model offered her opinion on the gala’s theme,” reports Jovanovich. Her response: “‘Well, fashion is art because fashion IS art. You know?’”
To read more, visit the link in bio.
Images:
–Madonna entering the Met Gala. Video: Alex Jovanovich.
–People waiting in line to get into the Met Gala at New York’s Metropolitan Museum of Art on May 4, 2026. Photo: Alex Jovanovich.
–From left: Tom Ford, Heidi Klum, unidentified Met Gala staffer, and Emily Blunt. Photo: Alex Jovanovich.
–Kim Kardashian. Photo: Alex Jovanovich.
–Holes in the train of Katy Perry’s custom Stella McCartney gown. Photo: Alex Jovanovich.
–The author’s notebook at the press stable. Photo: Alex Jovanovich.
@mom_innovations_plus #2026MetGala
Earlier this month, senior editor Alex Jovanovich spent several hours trapped in a plywood press box in front of the Metropolitan Museum of Art for the institution’s 2026 gala (dress code: “Fashion Is Art”). He left the event, mostly funded by the oligarchic Jeff Bezos and his wife, Lauren Sánchez Bezos, not dazzled but “weary and weirded out” by the ostentatious displays of wealth and power. “One blonde model offered her opinion on the gala’s theme,” reports Jovanovich. Her response: “‘Well, fashion is art because fashion IS art. You know?’”
To read more, visit the link in bio.
Images:
–Madonna entering the Met Gala. Video: Alex Jovanovich.
–People waiting in line to get into the Met Gala at New York’s Metropolitan Museum of Art on May 4, 2026. Photo: Alex Jovanovich.
–From left: Tom Ford, Heidi Klum, unidentified Met Gala staffer, and Emily Blunt. Photo: Alex Jovanovich.
–Kim Kardashian. Photo: Alex Jovanovich.
–Holes in the train of Katy Perry’s custom Stella McCartney gown. Photo: Alex Jovanovich.
–The author’s notebook at the press stable. Photo: Alex Jovanovich.
@mom_innovations_plus #2026MetGala
Nahum B. Zenil, Verdugo, 1993, acrylic on wood, 21 5/8 × 23 7/16 × 2 9/16" @parallel_oaxaca, CDMX, through June 6.
@nahumb.zenil
#ParallelOaxaca
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
For London-based artist and icon of the British Black Arts movement Sonia Boyce, René Magritte’s painting The Treachery of Images speaks to the tensions of representation itself. In the full episode of Under the Influence, the artist highlights the importance of improvisation in making work and professes her love for Lygia Pape, Lygia Clark, and René Magritte’s The Treachery of Images. A piece of advice? The criticism that hurts the most can sometimes be most true.
The Queens Museum (@queensmuseum) in New York will present a newly commissioned work by Sonia Boyce, titled Demonstrate, which opens on June 27 2026. The Tate Britain’s (@tate) first survey of Sonia Boyce’s forty-year career will open in March 2027.
Follow the link in bio for the full video.
René Magritte, "La Trahison des images (Ceci n'est pas une pipe)," 1929, © 2026 C. Herscovici / Artists Rights Society (ARS), New York.
@soniaboyceartist
#SoniaBoyce
#RenéMagritte
#Artist
#ArtforumVideo
Video Direction: @Brianjgreen_
Cinematography: @Alexandra.sapp
Editing: @__noahrosenberg__
Allison Katz, Marginalia, 2026, oil, acrylic and sand on linen, 72 7/8 x 57 1/8 x 1 3/8" @hauserwirth through July 24.
@allison.katz
#AllisonKatz
#HauserWirth
Views of "Lynette Yiadom-Boakye: Many A Moonlit Caveat" @jackshainman, Chelsea, through July 31.
Images:
–Lynette Yiadom-Boakye, 9pm Normandy, 2026, oil on linen, 63 x 51 1/4 x 1 1/2"
–Lynette Yiadom-Boakye, From High Tea's End to Revolution, 2026, oil on linen, 55 x 63 x 1 1/2"
–Lynette Yiadom-Boakye, Black Deference to the Cunning, 2025, oil on linen, 78 7/8 × 51 1/8 x 1 1/2"
@lynetteyiadomboakye
#JackShainman
Views of "Lynette Yiadom-Boakye: Many A Moonlit Caveat" @jackshainman, Chelsea, through July 31.
Images:
–Lynette Yiadom-Boakye, 9pm Normandy, 2026, oil on linen, 63 x 51 1/4 x 1 1/2"
–Lynette Yiadom-Boakye, From High Tea's End to Revolution, 2026, oil on linen, 55 x 63 x 1 1/2"
–Lynette Yiadom-Boakye, Black Deference to the Cunning, 2025, oil on linen, 78 7/8 × 51 1/8 x 1 1/2"
@lynetteyiadomboakye
#JackShainman
Views of "Lynette Yiadom-Boakye: Many A Moonlit Caveat" @jackshainman, Chelsea, through July 31.
Images:
–Lynette Yiadom-Boakye, 9pm Normandy, 2026, oil on linen, 63 x 51 1/4 x 1 1/2"
–Lynette Yiadom-Boakye, From High Tea's End to Revolution, 2026, oil on linen, 55 x 63 x 1 1/2"
–Lynette Yiadom-Boakye, Black Deference to the Cunning, 2025, oil on linen, 78 7/8 × 51 1/8 x 1 1/2"
@lynetteyiadomboakye
#JackShainman
Explore SXSW London, the global festival at the intersection of business, technology, and creativity. Set across Shoreditch, the 2026 edition will bring together provocative ideas, immersive installations, digital innovation, and bold works by global artists shaping the future of culture.
@sxswlondon
Explore SXSW London, the global festival at the intersection of business, technology, and creativity. Set across Shoreditch, the 2026 edition will bring together provocative ideas, immersive installations, digital innovation, and bold works by global artists shaping the future of culture.
@sxswlondon
Explore SXSW London, the global festival at the intersection of business, technology, and creativity. Set across Shoreditch, the 2026 edition will bring together provocative ideas, immersive installations, digital innovation, and bold works by global artists shaping the future of culture.
@sxswlondon
Explore SXSW London, the global festival at the intersection of business, technology, and creativity. Set across Shoreditch, the 2026 edition will bring together provocative ideas, immersive installations, digital innovation, and bold works by global artists shaping the future of culture.
@sxswlondon
Instagram Hikayelerini Gizli Görüntüleyin
Instagram Hikaye Görüntüleyici, Instagram hikayelerini, videoları, fotoğrafları veya IGTV'yi gizlice izleyip kaydetmenizi sağlayan basit bir araçtır. Bu hizmetle, içerikleri indirip istediğiniz zaman çevrimdışı olarak keyfini çıkarabilirsiniz. Instagram'da daha sonra görmek istediğiniz bir şey bulduysanız veya anonim kalmak isterseniz, bizim Görüntüleyicimiz sizin için mükemmeldir. Anonstories, kimliğinizi gizli tutmak için mükemmel bir çözüm sunar. Instagram, Hikaye özelliğini Ağustos 2023'te başlatmış ve bu format, etkileşimi yüksek ve zaman sınırlı olduğu için hızla diğer platformlar tarafından benimsenmiştir. Hikayeler, kullanıcıların hızlı güncellemeler paylaşmasını sağlar; fotoğraflar, videolar veya selfie'ler, metin, emojiler veya filtrelerle zenginleştirilmiş ve sadece 24 saat görünür. Bu sınırlı süre, normal gönderilere göre yüksek etkileşim yaratır. Bugünlerde, Hikayeler sosyal medyada bağlantı kurmanın ve iletişim kurmanın en popüler yollarından biridir. Ancak, bir Hikaye görüntülediğinizde, yaratıcısı adınızı görüntüleyici listesinde görebilir ki bu da gizlilik endişesi yaratabilir. Peki ya Hikayeleri fark edilmeden görüntülemek isterseniz? İşte burada Anonstories devreye girer. Kimliğinizi ifşa etmeden, kamuya açık Instagram içeriğini izlemenizi sağlar. Sadece merak ettiğiniz profilin kullanıcı adını girin, araç size en son Hikayelerini gösterecektir. Anonstories Görüntüleyicisinin Özellikleri: - Anonim Tarama: Hikayeleri görüntüleyici listesine düşmeden izleyin. - Hesap Gerekmez: Instagram hesabı oluşturmadan kamuya açık içeriği görüntüleyin. - İçerik İndirme: Hikaye içeriklerini cihazınıza indirip çevrimdışı olarak kullanabilirsiniz. - Öne Çıkanlar Görüntüleme: Instagram Öne Çıkanlarına erişin, 24 saatlik süreyi aşarak da. - Yeniden Paylaşım Takibi: Kişisel profillerin Hikayeleri üzerindeki paylaşımları veya etkileşim seviyelerini takip edin. Kısıtlamalar: - Bu araç yalnızca açık hesaplarla çalışır; özel hesaplar erişilemez. Yararları: - Gizlilik Dostu: Herhangi bir Instagram içeriğini fark edilmeden izleyin. - Basit ve Kolay: Uygulama yükleme veya kayıt gerekmez. - Özel Araçlar: Instagram’ın sunmadığı şekilde içerik indirme ve yönetme.
Anonstories'in Avantajları
IG Hikayelerini Gizli İzleyin
Instagram güncellemelerini gizlice takip edin, gizliliğinizi koruyun ve anonim kalın.
Özel Instagram Görüntüleyicisi
Özel Profil Görüntüleyicisi ile profilleri ve fotoğrafları anonim olarak kolayca görüntüleyin.
Ücretsiz Hikaye Görüntüleyici
Bu ücretsiz araç, hikaye yükleyicisine görünmeden Instagram Hikayelerini anonim olarak görüntülemenizi sağlar.
Sıkça Sorulan Sorular
Anonimlik
Anonstories, kullanıcıların Instagram hikayelerini yaratıcıyı uyarmadan görüntülemelerini sağlar.
Cihaz Uyumluluğu
iOS, Android, Windows, macOS ve Chrome ile Safari gibi modern tarayıcılarda sorunsuz çalışır.
Güvenlik ve Gizlilik
Giriş bilgisi gerektirmeden güvenli, anonim taramayı ön planda tutar.
Kayıt Gerektirmez
Kullanıcılar, sadece bir kullanıcı adı girerek halka açık hikayeleri görüntüleyebilir—hesap gerekmez.
Desteklenen Formatlar
Fotoğrafları (JPEG) ve videoları (MP4) kolayca indirir.
Ücret
Hizmet ücretsizdir.
Özel Hesaplar
Özel hesaplardan içerikler yalnızca takipçiler tarafından erişilebilir.
Dosya Kullanımı
Dosyalar yalnızca kişisel veya eğitimsel kullanım içindir ve telif hakkı kurallarına uymalıdır.
Nasıl Çalışır
Bir kamu kullanıcı adı girin, hikayeleri görüntüleyin veya indirin. Hizmet, içeriği yerel olarak kaydetmek için doğrudan bağlantılar oluşturur.