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With 2025 in our rearview mirror, we enter 2026 with a renewed sense of purpose and a clear vision for the months ahead. As we welcome new faces and continue to grow with our longstanding clients, we are reminded of how fortunate we are to have such a diverse, rich community of art and design leaders.
This year is already shaping up to be one of our most dynamic yet. We are thrilled to partner with Creative Australia on the upcoming Australia Pavilion at the 2026 Venice Biennale, featuring artist Khaled Sabsabi. Closer to home, we are excited to welcome the Kansas City Art Institute to our roster, deepen our relationship with the Indigo Arts Alliance, and celebrate MAP Studio’s upcoming book Architecture x Architecture: A Dialectic. To support this growth, we are also expanding our internal leadership, so please join us in welcoming Betsy Biscone as our new Director of Operations (learn more about Betsy below).
As we enter our 26th year in business, we are honored to continue our longstanding partnerships whose visionary work remains at the core of our agency’s mission. We look forward to another year of amplifying their impact.
Welcome to 2026. Here is a first look at what’s on the horizon.
— John, Michelle, Andy, Betsy, Dalia, Corey, Max, Katrina, Sydney, and Pam.
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Featuring Katherine Lambert & Christiane Robbins of MAP Studio
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Katherine Lambert, AIA, and Christiane Robbins are co-founders of MAP Studio, an award-winning architecture, design, and media studio whose practice spans built and unbuilt environments, digital media, forensic research, cultural projects, and climate-focused and sustainability initiatives. Katherine and Christiane have co-authored Architecture x Architecture: A Dialectic, to be published at the end of January 2026, by ORO Editions.
1. For someone new to your work, how would you describe what you do and the questions that guide you?
KL: I’m an architect working at the threshold where drawing-based practice meets a cultural image-world—one that now trains the large language and vision models reshaping architectural imagination. For much of the discipline’s history, architectural practice began with the human-authored drawing: a proposition that gradually found its way into material form. Today, practice often begins with images—generated, recombined, and recursively trained by systems that have absorbed architectural history and flattened it into operational style.
My work asks what architectural agency looks like when the image precedes the drawing—when synthetic vision becomes a collaborator rather than a tool. I’m interested in how practice mutates to navigate this terrain without surrendering contextual rigor, professional standards, architectural ethics, or responsibility to the built environment.
CR: My work sits in the uneasy but fertile zone where architecture, media, and computational systems overlap. I follow images the way some people follow architectural plans—tracking how they behave, mutate, and persuade, and what they reveal about the evolving infrastructures that produce them. An underlying directive for me has always been: What happens as synthetic images begin to conceptualize themselves?
Since 2022, when accessible large language models (LLMs) began improvising architectural histories in real time, the stakes have shifted. Images no longer mirror culture; they construct it. I’m attempting to understand that shift — its politics, its mythologies, and its future implications for how we imagine space and our place within it.
2. What do you hope Architecture X Architecture contributes to the architecture and design community?
KL: AxA acknowledges a shift that many architects feel but rarely name: that AI isn’t simply enhancing representation—it’s reorganizing the foundations of practice. Our projects from 2022–24 capture that moment of rupture, when synthetic vision was still learning the discipline: familiar enough to recognize, alien enough to unsettle. That threshold is instructive; it shows us how the machine reads our history, how it misreads it, and how those misreadings feed back into practice.
What I hope AxA contributes is a framework for speculative practice grounded in responsibility—embracing AI’s provocations while holding them accountable to material, environmental, and cultural realities. If the book advances one conversation, I hope it is this: How do we protect the ethical and contextual commitments of architectural practice when the image itself becomes synthetic, recursive, and partially detached from the mythos of authorship?
CR: My hope is that AxA offers the field something we rarely grant ourselves anymore. That is, in our quest to respond professionally to targeted market demands of expediency, convenience and value extraction, it offers these fields the space to slow down and consider the implications of living solely within conditions of computational velocity. In chasing expediency, convenience, and value extraction, we risk normalizing algorithmic distortions as ubiquitous architectural and design conventions—only if we let them.
If the book can shift discourse away from “AI as spectacle” or “AI slop” toward AI as a rewriting of refracted architectural and cultural legacies, then it will have moved the conversation into more meaningful territory. My wish is for practitioners to feel empowered not just to use AI, but to interrogate it—and to insist on human agency within a responsibly regulated AI landscape.
3. What’s a passion or influence outside architecture that shapes how you think?
KL: I’m intrigued by fields that operate at slow, geological, or ecological tempos—climate systems, fire ecologies, coastal erosion, the lived intelligence of materials, the spatial experience of one’s body in the built environment. Often these forces absorb neglect until they don’t; what reads as patience, when exploited, comes back as a kind of ruthlessness. They remind me that architecture is always negotiating more than its own aesthetic ambitions—and they ground my work in realities that synthetic vision alone cannot intuit.
CR: I’m drawn to things that hover near the edge of legibility: glitch aesthetics, outdated technologies, experimental cinema, signal-to-noise ratios, data center atmospherics, the poetics of covert failure. These influences remind me that systems—visual, computational, ecological—always speak in more than one register. Arguably, if architecture teaches you how to see space, these other practices teach you how to hear the static beneath the signal—offering a broad spectrum of spatial experience.
They help me stay attuned to the quiet, often overlooked forces shaping our visual culture—the places where meaning slips, stutters, or suddenly offers an unsettling clarity.
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Betsy Biscone, Director of Operations
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We are delighted to announce that Betsy Biscone has joined the Blue crew as Director of Operations. Betsy has years of management experience and will work closely with John, Michelle and Andy and their teams to continue to provide exceptional service for our clients and further elevate our agency.
Betsy previously ran a major artist’s studio for 11 years and prior to this was a key member of the operations team at a prestigious New York art gallery for 4 years. She is renowned for her values-driven, collaborative and collegial approach. Betsy also has deep, long-term connections to both the art and design sectors and is passionate about the field.
Please welcome Betsy to the team. She may be reached at betsy@bluemedium.com.
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04/ WHAT’S ON | VISUAL ARTS
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[THE CLEMENTE SOTO VELEZ CULTURAL AND
EDUCATIONAL CENTER]
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Report on Object-Specific Protection in Europe, January 2026
Bill Anderson is an arts security expert and co-founder of Art Guard, a New York–based company providing advanced technologies to protect fine art and valuable objects from theft. Art Guard uses object-specific protection, with their patented MAP sensors, to secure works in the collections of clients including Sotheby’s and the MoMA. In January 2026, he will publish a white paper, analyzing the art security market in Europe. Bill is available for comment on all art security stories.
Contact: Max Kruger-Dull
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Historias: Domino Table Talks, Historias in Motion, and Remesas y Sobremesa, Spring 2026
This spring will see the continuation of The Clemente’s Historias initiative, charting the impact of Latinx culture in New York City. The Clemente will present new editions of three signature series: Domino Table Talks, which present short videos of multicultural and intergenerational conversations between cultural figures held live in the city at domino tables; Remesas y Sobremesa, bimonthly intimate discussions held over shared meals; and Historias in Motion, The Clemente’s newest initiative presenting site-specific augmented reality digital monuments created in collaboration with Kinfolk.
Contact: Katrina Stewart
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The Australia Pavilion At The Venice Biennale, May 9 – November 22, 2026
For its official presentation for the 61st Venice Biennale of Art, the Australia Pavilion will feature the work of Khaled Sabsabi. Sabsabi is an acclaimed multidisciplinary artist with over 35 years of experience working across art mediums, geographical borders, and with communities both in Australia and internationally. His work explores themes of human collectiveness, questions identity politics and ideology, and sparks thought and dialogue through compelling artistic expression. Sabsabi, with long time collaborator and pavilion Curator Michael Dagostino, currently Director of the Chau Chak Wing Museum at the University of Sydney, will draw on their long-standing creative collaboration to present a new work
Contact: Max Kruger-Dull
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[KALLIR RESEARCH INSTITUTE]
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Austrian Expressionism and Otto Kallir, November 21, 2025 – May 31, 2026
Following the gift of more than 130 works of Austrian Expressionism from the Kallir Family, including the first painting by Gustav Klimt and Egon Schiele to enter its collection; the Los Angeles County Museum of Art will present a selection of works in the Modern Art Galleries on-view until May 31, 2026. Titled Austrian Expressionism and Otto Kallir, the exhibition will feature paintings, drawings, and prints that are hallmarks of the time period as a preview to a larger presentation of the gift in 2027.
Contact: Katrina Stewart
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[LIU SHIMING ART FOUNDATION]
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Intimate Unthinkables, May 9 – November 2026
This year will mark the 100th anniversary of Liu Shiming’s birth, and the Foundation is planning a full year of announcements and programming for the momentous occasion. Coinciding with the Venice Biennale, the Foundation, in collaboration with the European Cultural Centre, will present Intimate Unthinkables, an exhibition pairing the work of Adrian Parr Zaretsky and Liu Shiming. The show will explore themes of global upheaval, everyday life, the body, and the power of humanity, using sculpture and conceptual paintings. Additionally, on March 10, 2026, Rutgers University Press, with support from the Liu Shiming Art Foundation, will publish Liu Shiming: Sculpting Empathy by Richard Vine, the first English-language book on the Chinese sculptor. Stay tuned for more announcements as the Foundation celebrates throughout the year.
Contact: Max Kruger-Dull
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[NATIONAL GALLERY OF AUSTRALIA]
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IFPDA Print Fair, April 9-12, 2026
The National Gallery of Australia will exhibit in and present a talk at the IFPDA Print Fair, participating in the fair’s first ever invitational presentation for institutional partners. At the fair, the NGA will feature their recent monumental three-volume set publication, Tyler Graphics: Catalogue Raisonné, 1986–2001. This exhaustive scholarly work, NGA’s largest publication project to date, chronicles 15 highly experimental and productive years of the American master printer, Kenneth E. Tyler (b. 1931), a seminal figure in the 20th-century print renaissance.
Contact: Max Kruger-Dull
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[SHELLEY & DONALD RUBIN FOUNDATION]
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Ranbir Sidhu: No Limits, On view until January 3, 2027
Ranbir Sidhu: No Limits at the Art Gallery of Ontario is the artist’s first museum exhibition and focuses on three installations made from mirrored steel, gold, and marble, exploring form, material, and the manipulation of space. Sidhu’s background in manufacturing and engineering informs his large-scale metal sculpture, made using advanced fabrication and etching techniques. The exhibition is on-view until January 3, 2027.
Contact: Katrina Stewart
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An Inherent Undoing, Opening March 2026
Curated by Dr. Gervais Marsh, recipient of the Foundation’s 2025 Curatorial Open Call, An Inherent Undoing will ask what can be understood from reckoning with the failures and the limits of repair. Grappling with state violence, ongoing genocide, anti-Black logics, settler colonialism, and a continued disregard for the natural world, the exhibition will redirect attention to what is overlooked, highlight other possibilities that can arise, and consider what is strategically veiled under the pretense of reconciling legacies of trauma and injury. An Inherent Undoing will be a sustained meditation on negotiating societies that are radically broken, while also recognizing that this does not constitute the totality of life.
Contact: Max Kruger-Dull
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Soft Reins curated by Tomokazu Matsuyama at Acquavella Galleries, Palm Beach, February 12 – March 22, 2026
Tomokazu Matsuyama will curate Soft Reins, a group exhibition opening in February at Acquavella Galleries’ Palm Beach location. The exhibition explores the enduring significance of the horse as a powerful symbol and artistic muse, highlighting how the animal has inspired art, mythology, and storytelling throughout art history. Of his own work, Matsu has said, “I reinterpret this legacy through layered visual languages, drawing from disparate histories to form compositions that feel both familiar and unbound by a single tradition.” On February 10th at Matsu’s Greenpoint studio, he will host a breakfast for media to discuss this exhibition as well as other upcoming projects. To inquire about the media breakfast, reach out to max@bluemedium.com.
Contact: Max Kruger-Dull
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Trellis Art Fund Milestone Grantee Announcement, June 2026
The third round of Milestone grantees, artists who demonstrate a trajectory of excellence, sustained professional commitment, and a consistently engaged practice, will be announced in June 2026. Trellis Art Fund’s Milestone grantees are nominated by art world professionals nationwide and selected by an anonymous jury. Trellis Art Fund also reserves a portion of grants for artists who are caregivers to children, seniors, and others in need. The cohort will receive a total of $100,000, distributed via two $50,000 installments over the course of two years, alongside professional development resources.
Contact: Katrina Stewart
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05/ WHAT’S ON | ARCHITECTURE & DESIGN
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The Brook anchors a key crossroads in Downtown Brooklyn
Beyer Blinder Belle has designed The Brook, a 52-story mixed-use tower anchoring a prominent corner at Albee Square in Downtown Brooklyn. Rising 600 feet, the building includes 591 apartments—30% reserved for affordable housing—above 41,000 SF of retail and 30,000 SF of resident amenities, including a library, outdoor pool, basketball court, lounges, fitness studios, and landscaped terraces. Drawing on the proportions and color palettes of historic Brooklyn architecture, the tower’s champagne-and-bronze curtain wall, chamfered glass retail base, and oval atrium lobby respond to the site’s distinctive geometry at Fulton Street and Flatbush Avenue while creating generous visual and public space at street level. The Brook is scheduled to be completed in 2026.
Contact: Dalia Stoniene
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Beyer Blinder Belle designs Embassy of Ireland at 1700 Pennsylvania Avenue NW, Washington, DC
The Embassy of Ireland reflects the importance of the 100-year history of Ireland’s diplomatic relationship with the United States by incorporating traditional materials with contemporary relevance. Located at 1700 Pennsylvania Avenue NW, just one block from the White House, the Embassy welcomes visitors with a bronze-and-moss wall depicting the abstracted coastlines of the United States and Ireland, while a modern, undulating wood feature wall incorporates an abstracted harp, the official emblem of Ireland, and evokes the country’s rugged coastline and energetic rhythms of poetry and music. A flexible representational space hosts public events with views of DC landmarks, and daylit workspaces support daily operations; throughout, simple materials with historic resonance—wood, bronze, felted wool, and biophilia-inspired greenery—are used in unexpected ways alongside environmental graphics that evoke Irish art, literature, and design.
Contact: Dalia Stoniene
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Nicole Cherubini: Hotel Roma, January 16 – February 21, 2026
Friedman Benda presents Hotel Roma, the gallery’s first exhibition with New York-based artist Nicole Cherubini. Cherubini, an influential figure in contemporary sculpture, is well-known for her clay sculptures engaging with feminist theory and cultural hierarchies. Hotel Roma, which follows Cherubini’s successful solo show at SEPTEMBER Gallery, will feature new, large scale works that underscore her recent exploration of cast figurative elements. Cherubini’s work is often made with or in response to other women, past and present, and the power structures and ideas they engage with, ranging from gender and space to erasure and agency.
Contact: Michelle DiLello
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Ferréol Babin: In a Landscape, March 6 – April 18, 2026
This spring, In a Landscape will mark, Ferréol Babin’s first solo show in New York. The new body of work expands Babin’s dialogue with nature—influenced by his workshop’s location in the French countryside—and the act of making into the realm of painted furniture, treating wood from trees in nearby forests as his canvas. A nod to folk traditions that frequently make use of painted furniture, Babin weaves his contemplation of how nature can be embodied in an object into contemporary design with material sensitivity and inventive craftsmanship.
Contact: Michelle DiLello
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[KANSAS CITY ART INSTITUTE]
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New Client: Kansas City Art Institute
On January 1st, Blue Medium began working with Kansas City Art Institute, a private, accredited, four-year art and design institute and a global leader in arts education. With Bachelors of Fine Arts degrees available across 13 disciplines, KCAI aims to equip students with the skills and experience needed to improve the world using art and design. The campus lies between the Nelson-Atkins Museum of Art and the Kemper Museum of Contemporary Art, offering unparalleled resources for students across disciplines within the broader cultural and arts hub of Kansas City, Missouri.
Contact: Michelle DiLello
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Architecture x Architecture: A Dialectic, Book release January 2025
MAP Studio will release Architecture x Architecture: A Dialectic, a new book co-authored and curated by co-directors Katherine Lambert and Christiane Robbins. Published by ORO Editions, the groundbreaking book examines how architectural meaning is produced and circulated across interfaces, datasets, and institutions, sharpening the studio’s ongoing questions about authorship, attribution, consent, and value in image-driven culture. Arriving as MAP marks two decades of practice and as AI-mediated imagery accelerates the speed and scale of architectural representation, Architecture x Architecture frames this moment as a critical inflection point for how the field sees, credits, and accounts for the work behind what is visible.
Contact: Michelle DiLello
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FULL CIRCLE: Richard Fleischner with David Smith, Christo, Claes Oldenburg, Barnett Newman and other Monumenta Artists, February 6 – May 3, 2026
In 1974, Monumenta’s 54 works by 40 artists made headlines as one of the world’s largest outdoor sculpture exhibitions. Fifty-one years later, FULL CIRCLE returns to this canonical exhibition through the lens of works by Richard Fleischner, one of Monumenta’s last surviving artists, and his contemporaries. FULL CIRCLE focuses on Fleischner’s Sod Maze at Chateau-sur-Mer and illuminates his early career with archival materials in conversation with contemporaries including Christo, David Smith, Claes Oldenburg, Alexander Liberman, and Barnett Newman. Complemented by encaustics and works related to Fleischner’s ongoing Rowdy Meadow earthwork—home to contemporary masters like Richard Serra, Anish Kapoor, and Andy Goldsworthy—the exhibit traces a compelling arc from Monumenta’s pioneering vision to the continuing relevance of modern art and contemporary sculpture.
Plus, stay tuned for news about Newport Mansions’ Traveling Lecture Series in Boston, New York, and Philadelphia this spring.
Contact: Michelle DiLello
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[RHODE ISLAND SCHOOL OF DESIGN]
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Black Biennial 2026: Please Catch Me When I Fall, January 24 – March 15, 2026
RISD’s Gelman Gallery in Providence will present Please Catch Me When I Fall, the third Black Biennial of RISD. The multidisciplinary exhibition brings together Black artists from RISD and the surrounding Providence community and is curated by Karma Johnson, King Meulens, and Khalil McKnight. Centered on “solace” as a practice of transformation, the Biennial considers the tensions between harm and home, belonging and refusal, and the search for safety within spaces, people, and histories that can both wound and sustain.
Contact: Dalia Stoniene
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[RHODE ISLAND SCHOOL OF DESIGN]
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RISD’s presidential interview series It Starts With a Question continues with Maria Magdalena Campos-Pons – February 5, 2026
RISD’s new interview series It Starts With a Question, hosted by President Crystal Williams, returns on February 5 with an episode featuring Cuban-born, multidisciplinary artist Maria Magdalena Campos-Pons, whose practice spans photography, performance, video, and installation. The series reframes leadership as dialogue—curiosity as a method, creativity as civic practice, and art and design education as a cultural force—inviting viewers into candid, searching exchanges that are human, reflective, and substantive. Previous episodes have featured filmmaker RaMell Ross, artist Rose B. Simpson, and author-illustrator Brian Selznick.
Contact: Dalia Stoniene
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WholeTrees Structures brings their Structural Round Timber to 8th Street Gateway Park
WholeTrees Structures, a leader in the use of Structural Round Timber (SRT) for biophilic structural systems that restore forests, is collaborating with Port Urbanism, KPFF Seattle, and Crossland Construction to deliver 8th Street Gateway Park in Bentonville, AR. WholeTrees is providing many biophilic elements including the recently installed pedestrian walkway for the ongoing project—a visionary 110-acre destination park designed for Bentonville Parks and Recreation, funded in part by the Walton Family Foundation. The project will form the centerpiece of the Bentonville Parks System and the western anchor of a nearly completed 25-mile multi-use trail system surrounding the city.
Contact: Dalia Stoniene
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Rewilding – Nine Contemporary American Artists, Opening February 7th, 2026 at Darren Knight Gallery in Sydney
Our Founder, John Melick, has organized this American landscapes exhibition at Darren Knight Gallery in Sydney to kick off their New Year’s programming. Rewilding – Nine Contemporary American Artists opens on Saturday, February 7th and is on view through March 21, 2026. Overlapping with the opening of the Biennale of Sydney, the exhibition offers a nuanced reconsideration of the traditional landscape genre via works that have been created from the onset of the pandemic in 2020 to the more culturally fraught period over the last five years.
This exhibition features new and recent works by George Bolster, William Eric Brown, Kyle Johnson, Kasper Kovitz, Keiko Narahashi, David Opdyke, Emilio Perez, Kate Shepherd, and Mary Temple. John’s longstanding relationship with most of the artists, coupled with an enduring interest in non-traditional, unconventional approaches to 20th century and contemporary landscape art, serves as the foundation for this exhibition.
For more information on Rewilding, please reach out to John at john@bluemedium.com.
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07/ BLUE MEDIUM | BILLBOARD
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Art Spell: Your Morning Brew of Art-World Media
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Art Spell is your morning brew of national and international art world media Monday to Friday at around 10am (EST). In late 2023, we were proud to have helped launch Art Spell, delivering highlights from the most trusted art world media outlets. In a world with a deluge information, this subscription-based roundup of art news and reviews is your solution to staying current with what’s being covered by the media.
By subscribing, you’re not only supporting Art Spell but also contributing to a greater cause—100% of their profits are donated to organizations that support art journalists and writers. Click here to unlock a 7-day trial. Art Spell is free of charge for qualified media, and discounted for students. Please email them at hello@artspell.media to verify.
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FOLLOW US ON SOCIAL MEDIA
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Blue Medium is John, Michelle, Andy, Betsy, Corey, Dalia, Max, Katrina, Sydney, and Pam.
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IMAGE CREDITS: BLUE MUSE
MAP STUDIO: Image courtesy of MAP Studio.
IMAGE CREDITS: VISUAL ARTS
ART GUARD: Bill Anderson. Image courtesy of Art Guard.
THE CLEMENTE: Image of Molly Crabapple, Cigar Workers University (2025). Augmented-reality public artwork presented by The Clemente /Kinfolk Tech for Historias in Motion.
CREATIVE AUSTRALIA: Khaled Sabsabi and Michael Dagostino in Granville. Photo: Anna Kucera.
KALLIR RESEARCH INSTITUTE: SGustav Klimt, Woman with Fur Collar, 1897, Los Angeles County Museum of Art, Gift of the Kallir Family in Memory of Otto Kallir.
LIU SHIMING ART FOUNDATION: Adrian Parr, No Name #2, 2025, 18x 24, watercolor, pencil, pastel and soil on paper. Courtesy of the artist.
NATIONAL GALLERY OF AUSTRALIA: Kenneth E. Tyler AO adhering metalised PVC collage elements to the edition print of Roy Lichtenstein’s ‘Reflections on Crash’, Tyler Graphics, Mount Kisco, New York, 1990. Photo by Jacques de Melo.
RANBIR SIDHU: Ranbir Sidhu, _Asteriod 3033X1_, 2025. Installation view from No Limits at the Art Gallery of Ontario. Image credit to the Art Gallery of Ontario.
SHELLEY & DONALD RUBIN FOUNDATION: kimi malka hanauer, On the Edges of a Mother Tongue Wheat-pasted digital print on plywood, 2025 Photo courtesy of artist.
TOMOKAZU MATSUYAMA: Installation image of Liberation Back Home at SCAD Museum of Art, on view until January 12, 2026. Image courtesy of the Museum.
TRELLIS ART FUND: Image credit to Kisha Bari.
IMAGE CREDITS: ARCHITECTURE AND DESIGN
BEYER BLINDER BELLE: Images courtesy of Beyer Blinder Belle
FRIEDMAN BENDA: Courtesy of Friedman Benda and Nicole Cherubini. Photography by Carin Quirke / Courtesy of Friedman Benda and Ferréol Babin. Photography by Izzy Leung
KANSAS CITY ART INSTITUTE: Courtesy KCAI.
MAP STUDIO: MAP Studio’s Architecture X Architecture A Dialectic
NEWPORT MANSIONS: Aerial photograph of Sod Maze, Newport, Rhode Island, 1974. Courtesy of Richard Fleischner.
OPEN HOUSE MIAMI: Image courtesy of Open House Miami 2025 press release
RHODE ISLAND SCHOOL OF DESIGN: Photo courtesy of RISD.
RHODE ISLAND SCHOOL OF DESIGN: Crystal Williams and RaMell Ross, It Starts With a Question. Photo Courtesy of RISD
WHOLETREES: WholeTrees Structures 8th Street Gateway Rendering, courtesy of Whole Trees Structures.
IMAGE CREDITS: NEWS FROM AUSTRALIA
DARREN KNIGHT: Emilio Perez, ‘From the Beginning’ 2025, oil on linen, 137 x 122 cm. Couretsy of Darren Knight Gallery.
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