Three New England hospitals have captured the public’s imagination in Soliant Health’s 2026 Most Beautiful Hospitals contest, joining a field that saw **La Rabida Children’s Hospital** in Chicago claim the top spot with over 67,000 votes. The regional vote highlighted not just architecture but the sense of place and community pride that each facility inspires.

**Littleton Regional Healthcare** in Littleton, New Hampshire, earned a No. 6 ranking thanks to its 250‑acre hilltop campus that echoes a mountain lodge, with forest‑green gabled roofs and red‑brick facades framing the White Mountains. The hospital’s 2,280 votes reflect both its striking exterior and the staff’s reputation for care.

On the island of Nantucket, **Nantucket Cottage Hospital** secured the No. 10 spot with 802 votes. Its design draws on classic coastal New England architecture—weathered cedar shingles, multi‑gable rooflines—and features a bronze whale‑tail sculpture that honors the town’s maritime heritage, creating a welcoming, warm atmosphere for patients and visitors alike.

Milford’s newcomer, **Milford Regional Medical Center**, entered the list at No. 19 with 78 votes. The building blends traditional New England brickwork with sleek contemporary glass, signaling a bridge between historic roots and modern health‑care design.

The contest, now in its 18th year, underscores how public voting often celebrates the people behind the walls as much as the walls themselves, turning hospitals into symbols of community identity and pride.

[View original article](https://www.masslive.com/news/2026/10/3-new-england-hospitals-earn-spots-among-americas-20-most-beautiful-in-recent-contest.html)

Most beautiful hospitals 2026: 3 New England facilities make top 20, including Nantucket, Milford

Northwood University unveiled a striking bronze sculpture of Revolutionary War heroine **Sybil Ludington**, capturing her legendary 1777 midnight ride. The work is a replica of a piece by **Anna Hyatt Huntington**, and it stands alongside the legacy of the university’s **Distinguished Women Awards**.

Placed on the Midland campus, the statue serves as a visual reminder of women’s contributions that have often been eclipsed in history. President Kent MacDonald noted the contrast between Ludington’s modest historical record and the fame of Paul Revere, underscoring the school’s commitment to honoring overlooked bravery.

**Anna Hyatt Huntington**’s seven‑decade career produced more than 570 works, including the iconic **Lincoln on the Prairie** that has long graced Northwood’s grounds. Though the sculptor is no longer with us, the university honored her posthumously, with Brookgreen Gardens’ Robin Salmon accepting the award on her behalf.

The ceremony gathered students, alumni honorees and community members, reinforcing the idea that art can spark curiosity and embody values beyond business. Voices such as Dr. Rita Case and junior Kennedy Williams highlighted how the piece symbolizes courage and the lasting impact of women who shape history.

[View original article](https://www.mlive.com/news/saginaw-bay-city/2026/10/northwood-university-unveils-sybil-ludington-statue-in-midland.html)

Northwood University unveils Sybil Ludington statue in Midland

Standing 82 feet long on the high‑desert grounds of **Santa Fe Community College**, **Ethyl the Whale** is a life‑size blue whale assembled from roughly 5,000 pounds of single‑use plastic. California artists **Joel Dean Stockdill** and **Yustina Salnikova** built the piece in 2018 to make visible the scale of ocean pollution, matching the exact dimensions of a mature blue whale.

The sculpture earned a Guinness World Record for the largest recycled‑plastic artwork. The creators harvested trash bags, milk jugs and other discarded containers, melted them into sturdy panels, and welded them together, turning what would be landfill waste into a striking public monument.

After its debut in the San Francisco Bay Area, the work was acquired by the arts collective Meow Wolf and donated to the college in 2019. Reassembled on campus, it now serves as an outdoor learning exhibit, inviting students and visitors to contemplate the long‑term impacts of single‑use packaging.

In 2026 the installation was highlighted as a Roadside America Sight of the Week, drawing travelers from across the country. Its bright blue hull against the arid desert landscape underscores a powerful paradox: a marine giant standing on land to remind us that plastic pollution knows no borders.

[View original article](https://timesofindia.indiatimes.com/world/us/two-california-artists-turned-around-5000-pounds-of-discarded-plastic-into-an-82-foot-blue-whale-in-2018-after-moving-to-new-mexico-the-record-setting-sculpture-was-named-a-roadside-america-sight-of-the-week-in-2026/articleshow/135213123.cms)

Two California artists turned around 5,000 pounds of discarded plastic into an 82-foot blue whale in 2018; after moving to New Mexico, the record-setting sculpture was named a Roadside America Sight o

The **Directorate of Archaeology** in Goa has taken custody of a 16th‑17th century stone **Kalbhairav sculpture** from Deulwada in Mandrem, after the local temple committee requested its preservation.

The statue, carved from schist and measuring roughly 52 cm by 35 cm, depicts the fierce aspect of Shiva as Kalbhairav. He stands within an ornamental arch, four‑armed, crowned, with a moustache, necklace and waist girdle. A small dog appears at his left foot while a human attendant is positioned on his right—an uncommon pairing in Goan Bhairava icons.

While Bhairava figures are more typical of northern India, this piece highlights the spread of the cult into Goa and provides a rare glimpse into regional variations of the deity’s iconography. The pedestal is partially broken and will undergo restoration before the work is exhibited.

Officials plan to clean, conserve, and display the sculpture in a museum, making it available to researchers and the public and enriching understanding of Goa’s medieval artistic heritage.

[View original article](https://timesofindia.indiatimes.com/city/goa/goa-acquires-16th-century-kalbhairav-sculpture-from-mandrem/articleshow/135197211.cms)

Goa acquires 16th-century Kalbhairav sculpture from Mandrem

Veteran Indian modernist **Jogen Chowdhury** died at 87, leaving a profound silence in the art world. After a long battle with blood cancer and infection, he passed away in Kolkata, prompting tributes from cultural and political circles.

Renowned for his bold, expressive lines and vibrant colour blocks, Chowdhury reshaped the visual language of contemporary Indian painting. His works, ranging from haunting figurative canvases to lyrical abstractions, have been exhibited globally and continue to inspire a new generation of artists.

Beyond the studio, he served as a Rajya Sabha member from 2014 to 2020, using his platform to champion the arts. In 2012 he received the prestigious **Banga Bibhushan**, a testament to his role as a cultural ambassador for Bengal.

His departure creates an irreparable void, but his legacy endures in museums, collections and the countless creators who follow his distinctive stroke.

[View original article](https://www.lokmattimes.com/national/renowned-artist-jogen-chowdhury-passes-away-at-87-cm-mamata-banerjee-suvendu-adhikari-express-condolences-a001-w02/)

Renowned Artist Jogen Chowdhury Passes Away at 87; CM Mamata Banerjee, Suvendu Adhikari Express Condolences

**Jogen Chowdhury** (1939‑2026) rose from the village of Daharpara, now in Bangladesh, to become one of India’s most celebrated modern painters. His striking, gestural lines and vivid imagery reshaped the visual vocabulary of contemporary Indian art.

Educated at the Government College of Art & Craft in Kolkata and later at the École nationale supérieure des Beaux‑Arts in Paris, he fused traditional Indian motifs with a bold modernist approach. A long stint as curator of art at Rashtrapati Bhavan and his professorship at **Kala Bhavana**, Santiniketan, allowed him to mentor generations of artists.

Beyond the studio, he was instrumental in founding the **Calcutta Museum of Modern Art** and the Jogen Chowdhury Centre of Art, creating lasting platforms for artistic exchange. His public service continued as a Rajya Sabha member for the All India Trinamool Congress, adding a political voice to his cultural influence.

His work earned prestigious honors such as the Kalidas Samman, the Banga Bibhushan, and a showcase at the Havana Biennale. Iconic canvases like **Tiger in the Moonlight**, **Story of Woman**, **Ganapati**, **Couple**, **Nati Binodini** and **The Silver Throne** remain touchstones of his legacy.

His death leaves an irreparable void in West Bengal’s artistic soul, yet his bold strokes continue to inspire and define Indian modernism.

[View original article](https://www.aninews.in/news/national/general-news/maestro-whose-distinctive-strokes-redefined-indian-modern-art-bengal-cm-suvendhu-adhikari-mourns-artist-jogen-chowdhury20261025144802/)

"Maestro whose distinctive strokes redefined Indian modern art": Bengal CM Suvendhu Adhikari mourns artist Jogen Chowdhury

The art world has lost one of its most distinctive chroniclers of the human condition. **Jogen Chowdhury** passed away at 87, leaving behind a body of work in which eyes function as portals to inner consciousness and a single, unbroken line defines entire bodies.

Born in 1939 in Faridpur (now Bangladesh) and raised in Kolkata after Partition, he trained at the Government College of Arts and Crafts before earning a scholarship to study at the École Nationale Supérieure des Beaux‑Arts in Paris. The two‑year sojourn sharpened his visual vocabulary, and upon returning to India he began a practice that married expressionist figuration with the grotesque humor of Bengal’s Kalighat tradition.

Chowdhury’s signature language is built on exaggerated, distorted forms that hover between satire and empathy. Works such as **Faces of a Thinker** (1980), **Day Dreaming** (1979) and **The Youth** (1974) deploy cross‑hatching, vivid colour and a deliberate mis‑shaping of flesh to comment on social realities—from everyday survival to political manipulation.

Critics have noted the unmistakable “Jogenian” figure: a body assembled “squiggle by squiggle,” where contour becomes narrative. Curators describe his canvases as quiet dialogues, where the absence of superfluous detail creates a poised, almost hymn‑like presence.

Beyond the studio, Chowdhury shaped generations of artists through teaching at **Santiniketan** and by founding **Gallery 24** and the **Artist’s Forum** in New Delhi. His later initiatives—a residency at Rashtrapati Bhawan, a dedicated museum in Kolkata, and a collaborative space for emerging creators—demonstrate his commitment to building lasting artistic infrastructure.

Today his work is featured in major retrospectives, including the show **Making the Modern: Sixty Indian Master Artists**, affirming his role as both a visual innovator and a cultural institution builder whose line continues to echo across Indian modernism.

[View original article](https://www.livemint.com/mint-lounge/art-and-culture/jogen-chowdhury-obituary-modern-master-institution-builder-santiniketan-11792917545470.html)

Jogen Chowdhury (1939-2026): An institution builder and a painter of the human condition

The Mumbai home **Neelaya**, shared by actress **Raveena Tandon** and husband Anil Thadani, sits in the leafy enclave of Bandra and is estimated at around Rs 70‑80 crore. Its Sanskrit name, meaning “shelter,” sets the tone for a residence that marries contemporary opulence with a reverent nod to tradition.

Spirituality is woven into the layout through a series of stone sculptures—Nandi, Ganesha, Shiva and Parvati—positioned according to Vastu Shastra. A 50‑year‑old Nandi, rescued from a South Indian temple, anchors a modest shrine and infuses the space with a sense of historic continuity.

The living room balances marble flooring and exposed red brick with sleek glass doors draped in sheer curtains. Black‑grey sofas sit beside a glossy black coffee table, an olive‑green rug and a striking golden lamp, while a marble‑topped bar counter with wooden base and black leather stools adds a touch of bar‑room glamour.

In the dining area, forest‑green walls adorned with three‑dimensional wooden panels create depth, complemented by light wooden flooring that tempers the richness of the palette. The result is a European‑inspired setting that feels both elegant and welcoming.

The master bedroom adopts a soothing jade‑green scheme, square‑patterned wood detailing and a vintage‑style vanity with makeup lights. Feng shui‑approved plants bring a breath of greenery, reinforcing the room’s tranquil vibe.

Architects **Saket Sethi** and **Shabnam Gupta** helped translate the couple’s desire for a “little bit of everything” into a cohesive whole, drawing on Kerala’s subtle architecture, Moroccan intricacy and rustic textures while embracing luxe finishes. The house is described by its owners as radiating good vibrations, a testament to the seamless fusion of styles.

[View original article](https://economictimes.indiatimes.com/news/new-updates/raveena-tandon-lives-in-rs-80-crore-bandra-home-neelaya-with-husband-anil-thadani-featuring-50-year-old-nandi-sculpture-marble-floors-and-luxurious-interiors/articleshow/135185404.cms)

Raveena Tandon lives in Rs 80 crore Bandra home Neelaya with husband Anil Thadani, featuring 50-year-old Nandi sculpture, marble floors and luxurious interiors

Visitors to **Kelvingrove Art Gallery and Museum** recently found an empty sarcophagus where Egyptian mummies had been displayed. The museum posted a notice explaining that human remains were removed out of respect and that their policy requires documented and informed consent from the deceased or their descendants before exhibition.

The move has ignited a wave of satire and criticism, with commentators questioning whether centuries‑old artifacts should be subject to modern consent standards. The debate quickly spiraled into broader cultural commentary, touching on how museums handle colonial legacies, military memorials, and even prehistoric fossils.

Public reaction ranges from amusement at the museum’s “posthumous cancel culture” to serious concerns about the future of displaying historic objects. The controversy highlights the tension between preserving educational value and navigating evolving ethical expectations in the art and heritage sector.

[View original article](https://www.heraldscotland.com/news/26667384.no-wonder-mummy-cancellation-kelvingrove-mocked/)

No wonder mummy cancellation at Kelvingrove has been mocked

**Sudarsan Pattnaik** transformed a stretch of Puri beach into a temporary monument, raising an eight‑foot sand sculpture to greet the Prime Minister’s arrival. The towering figure, crafted from fine shoreline sand, immediately caught the eye of onlookers and set a celebratory tone for the visit.

The work incorporates the iconic **Konark Wheel**, reimagined as a stylised representation of the Reserve Bank of India’s new Data Centre and Cybersecurity Training Institute. By linking Odisha’s historic maritime heritage with a modern digital infrastructure, the piece underscores the state’s role in India’s technological expansion.

Pattnaik, a Padma Shri awardee and internationally recognised sand artist, is known for turning fleeting beach art into statements on national pride, environmental stewardship and social themes. His creations often appear at high‑profile events, turning the impermanent medium of sand into a powerful visual narrative.

The sculpture not only marked a political moment but also highlighted the dialogue between tradition and innovation, reminding viewers that even the most transient art can carry lasting significance.

[View original article](https://www.freepressjournal.in/lifestyle/pm-narendra-modis-puri-visit-sudarsan-pattnaik-creates-8-foot-sand-sculpture)

PM Narendra Modi’s Puri Visit: Sudarsan Pattnaik Creates 8-Foot Sand Sculpture

In the heart of Rome, beneath the newly restored **Arch of Janus**, **Marina Abramović** unveils her first foray into bronze sculpture – a gleaming, gilded donkey that she calls a love letter to the city.

The modest animal, rendered in shining metal, carries a weight of symbolism. Historically a bearer of burdens and a humble pilgrim, the donkey becomes a quiet counterpoint to Abramović’s often confrontational performances. Its gentle presence references the artist’s recent explorations of spirituality, fragility and the rituals that have long inspired her.

At eighty, Abramović shifts from the body‑centred endurance pieces that defined her early career – from the raw exposure of **Rhythm 0** to the intimate gaze of **The Artist Is Present** – to a work that invites contemplation rather than participation. The bronze form suggests a permanence that her previous ephemerality could never achieve, yet it still echoes the same questions about presence, vulnerability and the limits of the self.

Set against the ancient Roman backdrop, the sculpture creates a dialogue between past and present. The gold‑toned donkey reflects the marble and stone of the Forum while standing out as a contemporary emblem of empathy. Visitors are invited to pause, to consider the convergence of history, myth and personal narrative, and to experience, in Abramović’s words, a “confession of the soul” rendered in metal.

[View original article](https://www.repubblica.it/en/europe/culture/2026/10/24/news/marina_abramovic_love_letter_to_rome_gilded_bronze_sculpture_donkey-425670617/)

Marina Abramovic's love letter to Rome: a gilded bronze donkey

Sudarsan Pattnaik, a Padma Shri‑honoured sand artist, unveiled an 8‑foot sculpture on **Puri Beach** as a warm welcome to **Prime Minister Narendra Modi**.\n\nThe work marries Odisha’s storied heritage with the nation’s digital ambitions. Central to the piece is the iconic **Konark Wheel**, rendered alongside a sleek depiction of the forthcoming **RBI Data Centre** and the **Cybersecurity Training Institute** that will open in Bhubaneswar.\n\nPattnaik says the sculpture is meant to link the state’s cultural identity with India’s push for secure, resilient digital infrastructure, highlighting the pride of hosting the RBI’s second Tier‑IV certified data centre.\n\nIn this transient medium, the artist captures a moment where tradition and cutting‑edge technology converge, celebrating both the cultural legacy of Odisha and its role in the country’s digital future.

[View original article](https://www.lokmattimes.com/national/sand-artist-sudarsan-pattnaik-welcomes-pm-modi-with-8-foot-sculpture-at-puri-beach-ahead-of-odisha-visit-a001-w02/)

Sand Artist Sudarsan Pattnaik Welcomes PM Modi with 8

Pooja Bajaj, the director of **Kamalnayan Bajaj Art Gallery**, has built her reputation on nurturing fresh talent and expanding the reach of contemporary art. Her mentorship programmes are designed not to prescribe a voice but to provide the conditions for artists to discover their own, fostering critical dialogue and sustained practice.

In her own words, mentorship is about moving beyond mere visibility to creating an ecosystem where creators can thrive regardless of geography. The upcoming exhibition **Peripheral Shades** embodies this ethos, gathering works from diverse regions and economic backgrounds to challenge conventional narratives.

A notable partnership with **FAANDEE** and curator Nikhil Purohit has produced the **Chala Bhetuya** initiative, which takes art beyond established centres through studio visits and open conversations in places like Navi Mumbai. This decentralising effort underscores Bajaj’s belief that vital artistic conversations already exist outside the traditional hubs.

Bajaj defines art as a catalyst that reshapes how we see the world, urging artists to prioritize patience, curiosity, and the freedom to fail. She hopes emerging creators will embrace a slower, more reflective process, valuing depth over the rush for validation.

[View original article](https://www.freepressjournal.in/lifestyle/pooja-bajaj-director-kamalnayan-bajaj-art-gallery-on-mentorship-programmes-the-exhibition-peripheral-shades-and-more)

Pooja Bajaj, Director, Kamalnayan Bajaj Art Gallery, On Mentorship Programmes, The Exhibition ‘Peripheral Shades’ And More

A new public sculpture slated for south St. Louis has ignited a heated dispute. Commissioned by city officials as a bold statement of renewal, the abstract, towering work is intended to revitalize the neighborhood and draw attention to local history.

**Missouri Attorney General** has publicly denounced the piece, calling it “demonic” and warning that it may violate state statutes on public decency. The attorney general’s office has threatened legal action, prompting city leaders to defend the project as an exercise of artistic freedom.

Supporters argue the work challenges conventional aesthetics and offers a powerful commentary on community resilience. They point to other controversial installations that, over time, became beloved landmarks and catalysts for cultural conversation.

The controversy highlights the delicate balance between municipal ambition, community sensibilities, and the legal frameworks that govern public monuments, and it may set a precedent for future art projects across the state.

[View original article](https://www.stltoday.com/news/local/government-politics/article_543983c9-30f6-4527-ac9f-9fe38d014f78.html)

Planned south St. Louis statue draws ire of Missouri AG. Says it's described as 'demonic'

The exhibition "DAYO: Footprints and Dialogue" opened at the **Philippine Center** in New York, bringing together a range of media to probe what it means to be Filipino in a global metropolis.

Curated by visual artist and interior designer **Karol Ann Antonio**, the show is framed by two questions about Filipino identity and its feeling in New York. Antonio’s own series of ten paintings interprets the city’s skyline, using acrylic and oil pastel to map the hustle of streets against personal memory.

A striking textile installation reimagines New York’s verticality through traditional Philippine weaving, drawing on fabrics from the traveling show **"Habi: Discovering Possibilities for Philippine Fibers"**. The work weaves together color and pattern to suggest how immigrant footprints leave lasting marks.

Self‑taught New York artist **Citadel Muñoz‑Cruz** contributes embroidered denim pieces and photographs that embed Baybayin script and hand‑woven textiles from Inabel, Binakol, Kalinga and Yakan traditions. Her pieces juxtapose contemporary city scenes with timeless craft, underscoring dialogue between past and present.

Overall, the exhibition positions migration as both a temporary step and a lasting impression, using contrast, juxtaposition, and paradox to show how Filipino presence reshapes and is reshaped by the urban fabric of New York.

[View original article](https://www.manilatimes.net/2026/10/25/the-sunday-times/arts-awake/filipino-identity-and-migration-explored-in-new-york-art-exhibition/2453197)

Filipino identity and migration explored in New York art exhibition

The 2026 CANstruction competition turned a regional education center into a bustling construction site where architects, contractors, and students built edible sculptures from donated canned goods. Hosted at **New Horizons Regional Education Center** in Newport News, the event combined creative design with a food‑drive that supplied local charities.

The competition’s patriotic theme, marking America’s 250th anniversary, inspired teams to reinterpret iconic symbols. Highlights included two Liberty Bell structures, a miniature **Lincoln Memorial**, and a towering **Rosie the Riveter** figure that celebrated women‑owned firms.

The standout winner, **GuernseyTingle**, earned both Best in Build and the Largest Quantity award for its Rosie the Riveter sculpture, constructed from roughly 2,500 cans. The student‑led entry that captured the People’s Choice Award recreated **Lincoln Financial Field** with more than 800 vegetable cans, complete with an American flag backdrop.

Collectively, participants gathered over 8,000 canned food items, which were donated to **Grove Christian Outreach Center** and **THRIVE Peninsula** to help families facing food insecurity, especially during the holiday season.

Beyond the impressive builds, the event showcased how nonprofit partners, trade groups, and local schools can unite to teach construction skills, foster teamwork, and make a tangible difference in the community.

[View original article](https://www.pilotonline.com/2026/10/24/we-can-do-it-canstruction-competition-combines-creativity-food-donations/)

CANstruction competition combines creativity, food donations

The new retrospective at **National Gallery of Modern Art** in New Delhi offers a sweeping look at **Anupam Sud**'s six‑decade career, charting her evolution from early sketches to mature prints and paintings.

The show, titled **In the Etched Trace of Time: Six Decades of Anupam Sud**, brings together works from the gallery’s own collection and **Dhoominal Gallery**, highlighting her pioneering role in printmaking and her ventures into watercolour and oil.

A founding member of the avant‑garde Group 8, Sud helped establish New Delhi as a hub for intaglio, and the exhibition underscores her bold approach to line, composition and narrative‑free expression.

Accompanying the display is a two‑volume publication that blends interviews and essays by artists and scholars, offering deeper insight into her lasting legacy within Indian modernism.

[View original article](https://www.news18.com/agency-feeds/retrospective-celebrates-anupam-suds-six-decades-in-indian-modern-art-10395988.html)

Retrospective celebrates Anupam Sud's six decades in Indian modern art

Birmingham Museum and Art Gallery has transformed its Gas Hall into a whimsical **Neverland experience**, inviting visitors to wander through Peter Pan’s world amid the city’s festive buzz.

The walk‑through begins with a London‑inspired hallway that carries a distinct Birmingham chocolate twist, then leads into the Darling family’s cozy home before soaring toward the Second Star on the Right. Every corner offers photo‑worthy set pieces, hand‑crafted props, hidden fairies, a tent of Lost Boys and even a sensory cake that delights the senses.

Along the way guests meet Nana the dog, exchange cheeky glances with a clock‑ticking crocodile, and finally come face‑to‑face with a surprisingly jovial **Captain James Hook** whose dad‑joke banter makes the notorious villain feel more like a welcoming guide aboard his galleon.

A charitable thread runs through the adventure: J.M. Barrie left the rights to **Peter Pan** to **Great Ormond Street Hospital**, and a wishing tree invites visitors to send good thoughts toward the children’s hospital, with proceeds supporting its care.

The experience lasts about an hour, making it an ideal warm‑up for the **Birmingham REP**’s own Peter Pan production, and it adds a magical stop to the Christmas market scene around the German Market and Chamberlain Square.

[View original article](https://www.birminghammail.co.uk/whats-on/family-kids-news/happy-thoughts-magical-new-neverland-34805645)

Our 'Happy Thoughts' on magical new Neverland experience beside Birmingham Christmas market

An inventive team of three Bengaluru bakers—**Anna Austin**, **Arati Mirji** and **Samie Ramachandran**—took the International Cake Show Australia by storm with a 200 kg hyperrealistic sculpture of a Jallikattu bull and rider. The piece, a striking blend of edible cake, rice‑krispie “bone” structure and modelling chocolate, captured the raw energy of the traditional Indian sport and earned first place in the two‑day Cake Off Challenge.\n\nThe trio chose the contest’s ‘Adventure’ theme as a canvas for an Indian narrative, turning a static confection into a dynamic tableau of man‑and‑beast conflict. Their preparation spanned weeks: a detachable metal base was fabricated at home, then rebuilt on site; each artist played to a strength—Anna on facial detail, Samie on body sculpting, Arati on sugar‑flower jewellery—allowing the 12‑hour build to run like clockwork.\n\nLogistics proved as dramatic as the cake itself. Shipping a multi‑kilogram framework on a commercial flight forced the team to pack the components in their own luggage, even shedding clothing to stay within the 90 kg limit. Once assembled, the massive confection was judged unanimously as the winner, praised for its realism and narrative power.\n\nSince the victory, **Anna Austin** has continued to push the medium, recently unveiling a regal sculpture of Maharani Kempananjammani Devi at the Dasara Cake Show in Mysuru. The success underscores how contemporary cake art can transcend pastry tables, turning cultural heritage into edible performance on the world stage.

[View original article](https://www.newindianexpress.com/cities/bengaluru/2026/Oct/24/bengaluru-cake-artists-win-big-in-australia-with-realistic-jallikattu-cake)

Bengaluru cake artists win big in Australia with realistic Jallikattu cake

A life-size bronze sculpture celebrating Chicago’s legendary film critics is set to join the cityscape at Prudential Plaza. The 6‑foot‑5 piece, titled **Siskel & Ebert: Two Thumbs Up**, captures the duo in their iconic theater seats, inviting passersby to sit beside them.

The work is being executed by acclaimed Illinois sculptor **Preston Jackson**, professor emeritus at the School of the Art Institute of Chicago, whose portfolio includes monuments to Richard Pryor, Martin Luther King Jr., and Jean Baptiste Point du Sable. His involvement adds a layer of cultural gravitas to the project.

The commission, driven by producer Pam Kasper, also dovetails with a forthcoming documentary on the critics. Both families have approved the design, and the statue is slated for installation in early 2028, promising a new landmark that honors the critics’ lasting influence on American film culture.

[View original article](https://www.nbcchicago.com/news/local/chicago-film-legends-behind-popular-movie-rating-system-to-be-honored-with-statue/4006714/)

Gene Siskel, Roger Ebert to be honored with statue at Prudential Plaza

Chicago is preparing a life‑size bronze sculpture of the legendary film‑review duo **Gene Siskel** and **Roger Ebert**. The work, expected to be finished by 2028, will stand at Prudential Plaza on East Randolph Street, a spot chosen for its visibility and proximity to the critics’ former newspaper offices.

The project is being driven by producer **Pam Kasper**, who has been making a documentary about the pair for two years. After seeing a smaller Ebert statue in Champaign, she launched a fundraising campaign aiming for $230,000, partnering with Chicago Gateway Green and a Hollywood memorabilia auction that includes items such as a signed "Toy Story" Jessie doll and a "Caddyshack" lobby card.

Chicago‑born sculptor **Preston Jackson** has been commissioned to create the piece, titled **Siskel and Ebert: Two Thumbs Up**. The bronze figures stand side‑by‑side, each giving the iconic thumbs‑up that defined their rating system, and are flanked by two bronze theater seats that invite passersby to sit and pose with the critics.

Beyond a striking addition to the city’s public art scene, the statue is meant to remind Chicagoans of the critics’ enduring impact on film culture and their deep roots in the city. It offers a playful, interactive way for locals and visitors alike to celebrate a duo whose spirited debates helped shape the way movies are discussed today.

[View original article](https://www.cp24.com/news/entertainment/2026/10/23/chicago-is-getting-a-life-size-siskel-and-ebert-sculpture-giving-two-thumbs-up/)

Chicago gets a life-size Siskel and Ebert sculpture

An outdoor exhibition opens this Saturday at **Gateway Park** in Gary, inviting visitors to walk through a community‑driven photography and storytelling gallery titled **Our Mill, Our Home**. Organized by the artist collective **Decay Devils** together with **Just Transition Northwest Indiana** and **Gary Advocates for Responsible Development**, the show features portraits of twenty residents whose lives have been shaped by the city’s steel industry.

The portraits, captured by Decay Devils, are paired with recorded interviews that reveal personal histories of current and former steelworkers, their families, and neighbors living along the plant’s fence line. The project weaves together visual art and oral narrative to illustrate how the mill’s presence reverberates beyond the factory floor.

Beyond the images, the free event offers a live DJ, poetry readings, button‑making stations, children’s activities, and refreshments from Grindhouse Café. Local poet Beverly Lewis will share a piece she wrote for the Sustainable Steel Community Cohort, adding a lyrical dimension to the conversation about health, pollution, and identity.

Set against a backdrop of ongoing debates over cleaner steelmaking—such as direct‑reduction technology and electric‑arc furnaces—the exhibit serves as both a celebration of community resilience and a platform for discussing environmental justice. By bringing art, activism, and industry stakeholders together, the gallery demonstrates how creative storytelling can illuminate the complex legacy of steel in Northwest Indiana.

[View original article](https://www.chicagotribune.com/2026/10/23/outdoor-art-gallery-featuring-lives-impacted-by-steel-opens-saturday-in-gary/)

Outdoor art gallery featuring lives impacted by steel opens Saturday in Gary

**Kenny Hill** transformed a modest plot beside Bayou Petit Caillou into a sprawling concrete sanctuary in the early 1990s. Over roughly a decade he erected more than a hundred sculptures—biblical figures, angels, soldiers, cowboys—each cast in rough concrete and anchored by rebar and bricks. The centerpiece is a 45‑foot lighthouse built from 7,000 bricks, its surface crowded with the same eclectic cast.

The garden reads like a personal mythos. Hill inserted dozens of self‑portraits—riding a horse, bearing a cross, his face split in black and white—to blur the line between creator and creation. Figures range from barefoot children to blue‑skinned beings in medieval garb, some supporting others like guardians at imagined thresholds. The assemblage weaves American cultural symbols, celestial motifs, and religious iconography into a dense, often enigmatic visual narrative.

After Hill’s eviction in 2000, the future of the site hung in the balance until a coalition of local academics and the Kohler Foundation stepped in. Their effort secured the purchase of the land, funded a new studio, and ultimately transferred stewardship to **Nicholls State University**, which opened the garden to the public in 2002. Today the environment stands as a rare example of outsider art preserved for public appreciation.

[View original article](https://timesofindia.indiatimes.com/world/us/in-1990-louisiana-bricklayer-kenny-hill-began-a-sculpture-garden-by-2000-it-held-100-concrete-figures-and-a-45-foot-lighthouse-built-with-7000-bricks/articleshow/135112778.cms)

Kenny Hill's Remarkable Sculpture Garden: A Journey Through Louisiana's Artistic Landscape

Neil R. Darrach’s five‑decade career left an indelible mark on St. Thomas, shaping the town’s civic identity with structures that have endured for more than a century.

From the iconic St. Thomas City Hall to the rebuilt Elgin County Courthouse, his public commissions blend practical solidity with subtle ornamentation. Lesser‑known gems such as the Mickleborough, the Southern Loan building, Wellington Street School, Centre Street Baptist Church, and the St. Thomas Church (Disciples of Christ) demonstrate his versatility across civic, commercial, and religious typologies.

All of these buildings still stand, a testament to his belief that architecture should be both functional and timeless. The new exhibition **Neil R. Darrach: Built to Last** opens at the Elgin Heritage Centre, inviting visitors to explore original drawings, photographs, and the stories behind the structures that continue to define the city’s streetscape.

[View original article](https://lfpress.com/st-thomas/eric-bunnells-people-the-architect-who-built-st-thomas-to-last/)

Eric Bunnell's People: The architect who built St. Thomas to last

The **Ain Sakhri Lovers** is a low‑relief stone carving dating to roughly 11,000 years ago, depicting two figures locked in an intimate embrace that simultaneously suggests multiple sexual symbols.

It was first spotted by a Bedouin traveling between Bethlehem and the Dead Sea, passed into a small museum run by the French Fathers, and caught the eye of French diplomat‑archaeologist René Neuville in 1933. After excavations at the Ain Sakhri cave revealed a Natufian domestic settlement, the piece entered the British Museum’s collection following an auction after Neuville’s death.

Contemporary sculptor Marc Quinn remarks on its ambiguous anatomy, noting that from different angles it can read as a penis, a vagina or even breasts, likening the experience to a silent, stone‑bound film. Its presence in a living space rather than a burial suggests an everyday function, though scholars still debate whether it served as a fertility talisman, a teaching aid, or simply a celebration of human intimacy.

[View original article](https://www.iflscience.com/the-worlds-earliest-sex-scene-was-carved-into-an-erotically-shaped-stone-11000-years-ago-85010)

The World’s Earliest Sex Scene Was Carved Into An Erotically Shaped Stone 11,000 Years Ago

The 19th Annual Disability Art Exhibition opened its doors in the historic halls of **Los Angeles City Hall**, showcasing a vibrant collection of works that explore personal connections to the natural world. Dozens of visitors gathered to celebrate artists who navigate disability with creativity, turning the civic space into a gallery of resilience and beauty.

**Akiko Tagawa**, president of the LA City Commission on Disability, described the event as a heartfelt step toward inclusion, noting how the venue underscores the importance of empowering young artists with disabilities. The exhibition’s setting, she said, makes the celebration feel “tremendous” in the heart of city governance.

Among the honorees were five winners of the **KASEC Dream Art Contest**, a program run by the Korean American Special Education Center since 2018 that encourages people with developmental disabilities to express unique perspectives. **Rosa Chang**, executive director of KASEC, highlighted how the varied colors and styles on display enrich the community, inviting diverse audiences to appreciate the work.

Artist **Aaron Shim** expressed his gratitude for the visibility, noting that seeing his paintings in such a prominent public space allows others to truly see the depth of his vision. The exhibition stands as a testament to the power of art to bridge differences and celebrate the natural world through inclusive lenses.

[View original article](https://abc7.com/story/kasec-dream-art-contest-winners-honored-19th-disability-exhibition-la-city-hall/19972407/)

Disabled artists get chance to share nature's beauty in LA City Hall exhibition

**Ayushmann Khurrana**, one of Bollywood’s most beloved actors, has built a home that mirrors his eclectic taste in cinema and music.  The 4,000‑square‑foot apartment in Windsor Grande, Andheri West, serves as a quiet sanctuary where the actor‑singer‑author can unwind with his family.

Spread over seven bedrooms, the interior—styled by his wife **Tahira Kashyap**’s friend Tanisha Bhatia—leans heavily on a crisp white palette.  The neutral backdrop lets the vibrant art pieces, quirky furniture and modern décor take centre stage, creating a calm yet expressive environment.

The living room, Tahira’s favourite spot, features an ivory sofa, a glass coffee table and Jaipur rugs on polished wooden floors.  Large French windows flood the space with light, while a charcoal grey sofa and a Buddha statue add a touch of contrast.  A dedicated corner showcases Ayushmann’s awards, a wall‑to‑wall bookshelf, and a mini‑gallery of black‑and‑white photographs and sketches, while a sleek bar counter with green velvet chairs hints at entertaining evenings.  A small music nook, complete with a console and instruments, reflects the actor’s singing passion.

The kitchen continues the white theme with pearl‑white cabinets, a grey countertop and sleek flooring.  The master bedroom boasts a Victorian‑style headboard set in a golden frame, a floral chair and a dressing mirror, all accented by black‑and‑white portraits of the star.

A balcony brimming with plants offers a leafy overlook of the city’s skyline—a favourite photo‑op for the couple.  Reports place the purchase price at around Rs 19 crore, including four parking spaces.  Despite the opulent city pad, the brothers keep close ties to their roots, having also invested in a family home in Panchkula, near Chandigarh.

[View original article](https://www.timesnownews.com/lifestyle/people/inside-udta-teer-actor-ayushmann-khurranas-house-in-mumbai-a-peek-inside-his-rs-19-crore-apartment-article-156392231)

Inside Udta Teer Actor Ayushmann Khurrana's House In Mumbai: A Peek Inside His Rs 19 Crore Apartment

In the cavernous third‑floor gallery of the **Museum of Contemporary Art Toronto**, **Delcy Morelos** confronts visitors with **Ombligo (navel)**, a monumental, basket‑like form that seems to hover above the floor. At first glance the dark, mesh‑like mass resembles a cocoon, a safety net or an alien vessel, inviting the eye to trace its undulating curvature.

The sculpture is built from an earthy blend of corn roots, tapioca, tobacco and other organic fibres, many sourced from a local micro‑farm and from Yucatán sisal. As the elevator doors open, a potent aroma of cinnamon, cloves, damp earth and faint diesel fills the space, turning the gallery into a scented chamber that overwhelms the usual white‑wall neutrality.

Beyond its materiality, **Ombligo** re‑examines the modernist grid. By swelling the traditional woven lattice into a bulbous, womb‑like shape, Morelos subverts a historically patriarchal structure, offering a nurturing, maternal counterpoint that references Indigenous cosmologies and the artist’s Emberá heritage.

The work’s scale is arresting: a massive, semi‑transparent nest that seems to suspend the floor itself. Light struggles through its interlaced fibers, revealing fleeting glimmers that make the piece feel both solid and ethereal, as if a planet were poised to descend or a dragon’s nest were awaiting its hatchling.

In its totality, **Ombligo (navel)** engages sight, smell, touch and imagination, delivering an experience that feels more like stepping into a living organism than viewing a conventional installation. It lingers in the mind long after the scent fades, a reminder of how art can make the body itself a site of contemplation.

[View original article](https://www.theglobeandmail.com/culture/art-and-architecture/article-artist-delcy-morelos-ombligo-navel-sculpture-engages-senses/)

Artist Delcy Morelos’s Ombligo (navel) engages all the senses

The **Heyde Center** is currently presenting a vibrant fiber art exhibition that will run until November 18, offering a broad spectrum of textile works that blur the line between craft and fine art.

A special artist reception on Sunday, October 25, from noon to 3 p.m. invites visitors to watch a wearable‑art fashion show and learn directly from the creators about their techniques.

The program reflects the mission of the **Valley Fiber Artists**, whose goal is to elevate fiber as a fine‑art medium and to engage the community with the rich possibilities of textiles.

[View original article](https://www.weau.com/2026/10/23/interview-celebrating-fiber-art/)

INTERVIEW: Celebrating Fiber Art

The **Maltz Museum** in Beachwood is opening its doors free of charge for the entire month of November, inviting locals and visitors alike to engage with a powerful chapter of history. \n\nAt the center of the invitation is the new show **Boris Lurie: Nothing To Do But To Try**, which traces the survivor’s journey from the horrors of the Riga Ghetto and concentration camps to a bold artistic practice that confronts trauma while preserving memory. \n\nThe timing is poignant: November marks the anniversary of Kristallnacht and the Rumbula massacres, reminders of the very events that shaped Lurie’s life and work. \n\nSupported by the **Ohio Holocaust and Genocide Memorial and Education Commission**, the museum hopes the free admission and accompanying field‑trip grants will broaden Holocaust education for students and the wider community.

[View original article](https://www.cleveland.com/entertainment/2026/10/maltz-museum-to-offer-free-admission-throughout-november.html)

Maltz Museum in Beachwood: Free entry all November for Holocaust exhibit

The early first‑century marble torso presents a tunic‑clad **Julio‑Claudian** emperor, his breastplate adorned with the sun‑god Sol emerging from the ocean. Its remarkable state of preservation and striking visual impact have long made it a centerpiece of scholarly interest.

Having remained in a private collection since 2010, the piece was offered at **Sotheby’s** in **New York**. A fierce fourteen‑minute bidding war pushed the hammer far beyond the £6‑9 million estimate, closing at £21 million and, with auction fees, totaling £25.6 million.

That price establishes a fresh world record for a Roman antiquity, eclipsing the previous high of £21.4 million set by a bronze Artemis and the Stag in 2007. The torso is celebrated for its fine carving, suggesting it was reproduced from an original bronze model.

Critics highlight the razor‑sharp details—from the overlapping leather strips to the subtle sense of movement—as evidence of a highly skilled Roman workshop that merged Greek artistic traditions with imperial propaganda, projecting the supremacy of Rome to all who beheld it two millennia ago.

[View original article](https://www.telegraph.co.uk/world-news/2026/10/23/marble-torso-of-roman-emperor-sells-for-record-25m/)

Marble torso of Roman emperor sells for record £25m

A new 17‑foot, 10,000‑pound sculpture rises at the entrance to **Lock 3**, its twin‑petaled form forged from stainless steel and reclaimed Goodyear Racing Eagle tires. Created by internationally acclaimed sculptor **Chakaia Booker**, the work turns discarded rubber into a striking, organic gateway that invites visitors to walk through its curved arches.

The piece marks a milestone for Akron’s public art program: it is the city’s first major contemporary outdoor sculpture commissioned from a woman artist. By repurposing the very material that once powered the region’s tire factories, the sculpture bridges the city’s industrial legacy with its emerging cultural identity.

Funded through a blend of public and private support—including the **VIA Art Fund**, the city of Akron, and the Ohio & Erie Canalway Coalition—the $550,000 project also features a series of community events. An artist talk at the **Akron Art Museum** and a naming ceremony at **Lock 3** will give locals a chance to engage directly with Booker’s process and the work’s symbolic resonance.

Beyond the monument itself, the commission is accompanied by a limited‑edition, hand‑bound publication designed by local creative Nolan Shumate, underscoring the collaborative spirit of the **Curated Storefront** initiative that is revitalizing downtown storefronts with works by regional artists.

[View original article](https://www.beaconjournal.com/story/entertainment/arts/2026/10/23/sculpture-made-from-recycled-racing-tires-to-grace-lock-3/92287832007/)

Petal-shaped tire sculpture to frame Lock 3, Akron's past, future

The Institute of Contemporary Art Boston marks its ninth decade with a bold retrospective called **90 YEARS**. The show opens in the entry gallery, where a newly published treatise sits alongside the museum’s founding papers, inviting visitors to trace the institution’s evolution from a modest post‑war space to today’s sleek Seaport landmark.

A striking feature is a massive wall map that pins every one of the ICA’s thirteen homes across the city—from a glass‑and‑steel box on stilts in Brighton to the former Harvard Fogg Art Museum space in the 1930s, and finally the purpose‑built building on Harbor Shore Drive. The map, paired with archival photographs, turns the exhibition into a visual itinerary of the museum’s nomadic past.

The chronology is broken into nine mini‑exhibitions that revive landmark shows. A recreation of the 1941 **Modern Mexican Painters** survey brings Orozco and Siquieros into view on the very walls that first displayed them. A modest room houses **Andy Warhol’s “Silver Clouds,”** recalling the 1966 survey that sent the Velvet Underground echoing through the ICA. Later sections revisit the 1974 feminist‑focused **Seven Sculptors: New Involvement with Materials**, and showcase early solo shows by **Ellen Gallagher** (2001) and **Simone Leigh** (2022), underscoring the museum’s role in launching groundbreaking careers.

Beyond objects, the exhibition underscores the ICA’s broader impact: its education programs that reach Boston schools, its community partnerships, and its relentless championing of contemporary art that has reshaped the city’s cultural landscape. The recent grant from the Barr Foundation, which funded a massive archival clean‑up, signals a renewed commitment to preserving this legacy for future generations.

As the show closes, the narrative is clear: the ICA has continually reinvented itself while staying true to a daring, public‑focused mission. With ninety years behind it, the museum looks poised to write many more chapters in Boston’s ever‑shifting art story.

[View original article](https://www.bostonglobe.com/2026/10/23/arts/ica-90-years-exhibition/)

Modern Art's Evolution in Boston

**Kelvingrove Art Gallery and Museum** in Glasgow has taken the rare step of removing a collection of ancient Egyptian human remains from public view, arguing that displaying bodies without documented consent disrespects the individuals who lived millennia ago.

The decision follows a revision of the museum’s human‑remains policy, aligned with the latest **International Council of Museums** Code of Ethics, which stresses the inherent dignity of such specimens and calls for clear provenance of consent or descendant approval.

The move has sparked a heated debate. Some cultural commentators condemn it as an over‑cautious reaction that threatens the educational mission of museums, while others applaud the ethical stance and see it as a necessary correction in how institutions treat the dead.

Regardless of the polarity, the episode highlights a growing tension between preserving access to historic artifacts and honoring contemporary standards of respect, a balance that museums worldwide will continue to navigate.

[View original article](https://theprint.in/feature/scottish-museum-removes-mummies-over-lack-of-consent-from-the-deceased/3079428/)

Scottish museum removes mummies over lack of consent from the deceased

**Vyakt Avyakt: The Manifest and the Unmanifest** opens at Art Mumbai 2026, bringing fifteen works from the Dabriwala private collection into a public setting for the first time. Built over three generations since the 1970s, the collection traces the evolution of Indian modernism and now steps onto the Mahalaxmi Racecourse venue, inviting visitors to encounter a curated slice of that legacy.

The show’s title gestures toward the philosophical tension between the visible and the invisible, echoing the neti‑neti approach of "not this, not this." Through abstraction, each piece probes questions of energy, perception and existence, moving beyond straightforward representation toward a dialogue between the manifest and the unmanifest.

Artists on view include **Jyoti Bhatt**, **Sayed Haider Raza**, **Akbar Padamsee**, **Vasudev Gaitonde**, **G. R. Santosh**, **Ram Kumar**, **Shanti Dave**, **Sohan Qadri**, **Ambadas**, **Jeram Patel** and **Prabhakar Barwe**. Highlights such as Raza’s *Congo*, Padamsee’s *Rouen* and Santosh’s *Shattering Thought* (1962) illustrate the breadth of colour, form and symbolism that have defined Indian abstraction.

The Dabriwala story began with Rajendra Dabriwala’s early acquisitions of Bengal modernists and expanded to the Progressive Artists’ Group, later nurtured by his son Surbhit. Their commitment to research, scholarship and education now fuels a public programme aimed at younger audiences, encouraging a personal, investigative approach to collecting.

Running from 12 to 15 November, the exhibition not only showcases seminal works but also frames a conversation about how collections are formed, how artistic ideas evolve, and how contemporary collectors might forge their own paths beyond established names.

[View original article](https://www.tribuneindia.com/news/business/the-dabriwala-foundation-for-the-arts-presents-vyakt-avyakt-the-manifest-and-the-unmanifest/)

The Dabriwala Foundation for the Arts Presents Vyakt Avyakt: The Manifest and the Unmanifest

An unexpected mash‑up of sport and furniture has surfaced in the world of baseball memorabilia: a coffee table topped with a tempered‑glass surface and supported by a bronze‑like sculpture of a sliding shortstop. The piece, marketed as a “Pete Rose Coffee Table,” measures 66 by 36 inches and bears a glossy, glass pane that frames the kinetic figure in a pose that could belong to the Reds legend—or perhaps to another Hall of Famer.

The table caught the eye of Barstool Sports personality **Dan Katz**, known online as @BarstoolBigCat. In a candid X post, Katz announced the arrival of the table, dubbing it "the worst thing I’ve purchased," and shared a photo that highlights the odd juxtaposition of a sleek modern surface with a figurine that looks like a baseball player caught mid‑slide.

The table’s backstory is as murky as its glass. Former owners John and Angela Parsons said they acquired it from Dudley’s Auction in Inverness, Florida, after it allegedly spent time in a bank lobby in Citrus Hills. They were told the figure represented **Pete Rose**, though some observers argue it resembles **Johnny Bench**. The listing lingered on Facebook Marketplace for seven weeks at $1,250 before Katz snapped it up.

Beyond its novelty, the table taps into a niche of fan‑focused décor, the kind of conversation starter that could anchor a man‑cave or a sports bar. Whether it will endure as a quirky collector’s item or simply a cautionary tale of impulse buying remains to be seen, but it undeniably adds a splash of baseball lore to the living‑room landscape.

[View original article](https://www.cincinnati.com/story/sports/mlb/reds/2026/10/23/cincinnati-reds-legend-pete-rose-coffee-table-sold-facebook-marketplace/92267279007/)

Barstool Sports' Big Cat buys mysterious $1,250 'Pete Rose' table

Dubai Fashion Week returns with a vibrant Spring/Summer 2027 edition, uniting homegrown talent like Yousef AlJasmi with international names such as Tarun Tahiliani and France’s Weinsanto. The show underscores the city’s ambition to cement its status as a global fashion hub, offering buyers’ programs, panel talks, and a month‑long pop‑up at Harvey Nichols.

Beyond the runway, the culinary scene shines with **L'Abysse**, the latest French‑Japanese concept by multi‑Michelin‑starred chef Yannick Alleno at One&Only The Palm. With a 34‑seat dining room and an intimate sushi counter, the restaurant blends French extraction techniques with traditional Edomae sushi, delivering a meticulously crafted 13‑course experience.

The visual arts are equally dynamic. Kenyan artist **Maggie Otieno** presents her first solo show at Efie Gallery, turning reclaimed wood and metal into layered narratives of memory and survival. In Abu Dhabi, **Eman Al Hashemi** debuts at Iris Projects, using clay to sculpt hybrid forms that echo the sun, streetlights and urban geometry of the UAE. Meanwhile, a retrospective of Emirati painter **Abdulqader Al Rais** at Opera Gallery traces five decades of evolving abstraction and calligraphic motifs.

Literary life in the region is highlighted by **Chronicles of a Cairo Bookseller**, a witty memoir that follows the founding of Egypt’s first independent bookstore chain. The book offers a candid look at entrepreneurship, cultural change and the resilient spirit of Cairo’s literary community.

[View original article](https://www.al-monitor.com/newsletter/2026-10-23/dubai-steps-back-runway)

Dubai steps back onto the runway

**Chandrakant Channe** presents **‘Black Whispers’**, a poignant collection of paintings, plate lithographs and drawings at **Jehangir Art Gallery** in Mumbai, running from October 27 to November 2. The show invites viewers into the world of Pardhi children, whose lives Channe has documented for over a decade.

Rather than literal portraiture, Channe employs visual metaphors to echo the children’s unspoken experiences. The dominant hue of black works as a conduit for deprivation, fear, memory and, paradoxically, the promise of awakening. A recurring figure with covered eyes underscores themes of uncertainty, silence and the constraints imposed by circumstance.

The exhibition also revisits the Pardhi community’s historic bond with wildlife, where hunting once sustained livelihoods. By juxtaposing human vulnerability with the raw forces of nature, Channe probes the intertwined struggles for survival and identity.

Open daily from 11 am to 7 pm, **‘Black Whispers’** offers a contemplative space to engage with questions of marginalisation, childhood resilience and the enduring human spirit.

[View original article](https://www.thehitavada.com//Encyc/2026/10/23/chandrakant-channes-black-whispers-to-be-showcased-at-jehangir-art-gallery.html)

Chandrakant Channe’s ‘Black Whispers’ to be showcased at Jehangir Art Gallery

The sudden disappearance of a seven‑foot bronze tribute to **Ben Ali**, the 1886 Kentucky Derby winner, has left a hollow spot on Del Paso Boulevard in Sacramento. Police say two suspects, Joshua Hughes and Aushajuan Hardy, are linked to the theft, and while one has been released, the other remains in custody.

The statue, installed in 2007 with city and grant funding, commemorated the region’s deep ties to thoroughbred racing through the historic Rancho Del Paso. Its loss not only represents an $80,000 artwork but also a tangible reminder of the area’s equestrian heritage.

Residents expressed shock as only a lone bronze hoof remained at the site, turning the missing monument into a symbol of communal identity. Investigators continue to appeal for tips, hoping to recover the piece and restore a piece of Sacramento’s cultural landscape.

[View original article](https://www.cbsnews.com/sacramento/news/2-arrested-theft-horse-statue-sacramento/)

2 arrested in theft of Kentucky Derby-winning horse statue in Sacramento

A life‑size bronze sculpture of the iconic duo **Gene Siskel** and **Roger Ebert** will soon grace the public plaza of the One Two Pru complex near Millennium Park and The Magnificent Mile. The six‑foot‑five work, titled "Siskel & Ebert: Two Thumbs Up," is slated for installation in early 2028 on the west side of Lake Street.

Designed by **Preston Jackson**, professor emeritus of sculpture at the School of the Art Institute of Chicago, the piece captures the critics perched behind their familiar theater seats, thumbs poised in the signature up‑and‑down gestures that defined their television debates. Visitors will be invited to sit beside the figures, creating a selfie‑friendly, interactive experience.

The tribute arrives as a community effort, with corporate backing from Wanxiang America Real Estate Group and a fundraising drive led by the nonprofit **Chicago Gateway Green**. A Hollywood memorabilia auction, featuring items such as a signed script from "Caddyshack" and a crew jacket from "Ghostbusters II," will help cover costs.

Beyond honoring two of Chicago’s most beloved cultural voices, the sculpture adds to the city’s rich tradition of public art that celebrates local icons—from **Jean Baptiste Point du Sable** to **Ernie Banks**. Jackson’s previous works, including statues of Richard Pryor and Gwendolyn Brooks, demonstrate his knack for turning familiar faces into lasting landmarks, and this latest commission promises to become a new gathering point for film lovers and tourists alike.

[View original article](https://www.chicagotribune.com/2026/10/22/siskel-ebert-statue/)

Siskel and Ebert to get life-size bronze tribute

A tragic murder‑suicide in Montgomery, New Jersey claimed the lives of 24‑year‑old aspiring artist **Sloane Grodnick**, her mother Lora, and her father David. The shocking loss has left the local community reeling.

Friends quickly organized a GoFundMe campaign that surpassed its goal in less than a day, raising funds to plant a tree in Sloane’s memory at **Grounds for Sculpture**, a renowned outdoor museum in Hamilton Township.

Sloane, a graduate of the Savannah College of Art and Design and a prospective master’s student at the Rhode Island School of Design, was celebrated for her creative spirit and early acts of kindness, including a 2011 community‑wide donation drive for a child in need.

The planned memorial will situate her tribute among world‑class sculptures and gardens, offering visitors a place to reflect on her passion for art and the lasting impact she had on those who knew her.

[View original article](https://www.nj.com/somerset/2026/10/friends-mourn-fundraise-for-24-year-old-nj-woman-killed-by-father-in-murder-suicide-she-deserved-so-much-more.html)

N.J. woman killed in murder-suicide to be honored at Grounds for Sculpture

**Jean Linard** devoted nearly three decades to raising an extraordinary open‑air cathedral in an abandoned flint quarry near **Neuvy‑Deux‑Clochers**, central France. Beginning in the early 1980s, the printmaker‑turned‑builder turned the hollowed stone pit into a riot of brick arches, towering triangles and a kaleidoscope of ceramic mosaics that he assembled from reclaimed beams, tiles and pottery.

The structure is unapologetically eclectic: over eighty names of deities, prophets and admired artists—ranging from Buddha to Mandela—are etched into the arches, while mirrored discs, colored ceramic discs and iron sculptures scatter light across the space. Linard described the sky itself as the roof, positioning the work as a universal sanctuary that honors the world’s major monotheistic traditions as well as personal heroes such as Gaudí.

After Linard’s death in 2010, the site struggled with stewardship until a young couple revived it in 2022, securing its designation as a historic monument and launching a fundraising campaign through the Fondation du patrimoine. Open from Easter to All Saints’ Day, the cathedral now hosts a modest café, tea room and seasonal cultural events, drawing thousands of visitors each year.

Beyond its visual splendor, the quarry cathedral stands as a testament to one man’s self‑taught ambition, the power of recycled materials, and the enduring appeal of art environments that invite contemplation across faiths and cultures.

[View original article](https://timesofindia.indiatimes.com/world/rest-of-world/jean-linard-spent-27-years-building-a-handmade-cathedral-in-a-french-quarry-covering-its-walls-and-towers-with-mosaics-sculpture-and-bright-colors/articleshow/135092781.cms)

Jean Linard spent 27 years building a handmade cathedral in a French quarry, covering its walls and towers with mosaics, sculpture and bright colors

At the age of sixty, French painter‑ceramist **Robert Tatin** abandoned a conventional studio career and embarked on an ambitious, twenty‑one‑year sculptural venture that would transform the grounds of his modest home in La Frénouse, Mayenne. Drawing on his experience with Brazilian construction projects and on advances in reinforced cement, he set out to create a living museum that would merge art, architecture and landscape.

The result is a winding avenue called **Allée des Géants**, an 80‑metre stretch lined with nineteen towering painted‑cement figures that range from Joan of Arc to the writer Alfred Jarry. At its head stands the **Gate of the Giants**, a high‑relief façade populated by portraits of masters such as Rembrandt, Van Gogh and Leonardo da Vinci. Beyond the gate lies the **Garden of Meditations**, a 500‑square‑metre sanctuary that moves from a Sun Gate at sunrise to a Moon Gate at sunset, centering on a 6.5‑metre statue known as the **Lady of All the World** and a series of twelve sculptures representing the months, all set around a small reflecting pond.

Tatin’s wife, Lise, played a crucial role in the workshop and sewing studio that supported the construction, while the artist’s vision of a universal visual language—bridging East and West—infuses every detail. The site has often been likened to Ferdinand Cheval’s **Ideal Palace**, another solitary, decades‑long fantasy built from humble materials, underscoring Tatin’s determination to craft a personal mythic landscape.

After Tatin’s death in 1983 the estate passed into public ownership, was designated a **Musée de France** in 2002 and received the **Maison des Illustres** label a decade later. The original ensemble is now regarded as complete, yet the surrounding five‑hectare park continues to host temporary exhibitions and contemporary works, keeping the spirit of Tatin’s late‑life ambition alive for visitors to this secluded corner of western France.

[View original article](https://timesofindia.indiatimes.com/world/rest-of-world/at-60-french-artist-robert-tatin-began-building-a-monumental-sculpture-garden-over-21-years-he-filled-the-grounds-with-towering-figures-and-cement-works/articleshow/135092162.cms)

At 60, French artist Robert Tatin began a 21-year sculptural project around his home, filling the grounds with towering painted-cement figures, gates and gardens

Nimish Shah’s label Shift first caught the public eye between 2012 and 2018, dressing Indian film stars in effortless, art‑like looks that felt both chic and approachable. After a stint leading the design house Bhaane, Shah returns with a new menswear chapter that feels like a natural continuation rather than a reinvention.

The collection, called **Shift Man**, leans into what Shah describes as Gandhian modernism – a stripped‑back minimalism that never sacrifices depth. He speaks of “modesty in materials, finishing and knowing when to stop,” turning the act of dressing down into a thoughtful, attention‑grabbing gesture.

Visually, the line shuns busy prints in favor of solid tones, checks and stripes rendered in dark blue, pistachio green and crisp white. Silhouettes are relaxed and unhurried: soft elevated separates, long‑line shirts and collarless tucker jackets. Fabrics such as naturally dyed cotton voiles, canvas and contemporary denim are produced in small batches, allowing the texture and character of each piece to shine.

Shah frames the aesthetic as a “Gujarati‑Scandi” wardrobe, marrying Indian craft with European restraint. He highlights the masstiege technique, a handcrafted approach that remains accessible to a broader market, and champions “common sense sustainability” – clothes meant to be worn repeatedly, not just for special occasions.

Beyond apparel, the comeback expands into **Shift home**, a series of serverware, tableware and quirky home textiles. Shah describes these objects as personal experiments meant to be interpreted individually, offering pieces that may not fit every space but can become cherished finds for those who discover them.

[View original article](https://www.thehindu.com/life-and-style/fashion/nimish-shah-on-shift-man-and-why-good-design-should-be-accessible/article71610300.ece)

Nimish Shah on Shift Man, and why good design should be accessible

The move by **Kelvingrove Art Gallery and Museum** in Glasgow to remove a collection of Egyptian mummies has drawn headlines. The artifacts—a mummified head, foot, right hand and the remains of a priest called Nekt—have been replaced with signs stating they were taken down 'as a mark of respect'.

**Glasgow Life**, the public body that runs the city’s cultural venues, says the action follows the **International Council of Museums** revised Code of Ethics, which calls for dignity and informed consent when displaying human remains. Their draft Human Remains Policy now requires documented consent from the deceased or their descendants, otherwise the objects are withdrawn.

The decision has ignited a cultural firestorm. Some commentators label it a symptom of 'woke' overreach, arguing that ancient bodies cannot grant permission and that visitors lose valuable educational experiences. Others applaud the museum for aligning practice with contemporary ethical standards and for giving voice to descendant communities.

As the controversy unfolds, the case may become a touchstone for institutions worldwide grappling with the balance between scholarly access, public engagement, and respect for the dead. Whether the removal signals a lasting shift in curatorial practice or a temporary flashpoint remains to be seen.

[View original article](https://nypost.com/2026/10/22/science/mummies-removed-from-scotland-museum-due-to-lack-of-consent/)

Mummies removed from Scotland museum due to 'lack of consent'

TAKSHANAM, the new sculpture showcase at **National Gallery of Modern Art**, opened on 16 October, gathering over 250 works by 150 Indian artists under one roof. The ambitious display maps the evolution of Indian sculpture from ancient terracotta figures to contemporary installations, offering visitors a sweeping view of the nation’s three‑millennia‑old carving tradition.

The show is split into two curatorial strands. **Eminent Artists** reunites veteran sculptors whose careers have shaped the field, while the **Open Call Artists** section introduces roughly eighty emerging creators selected by a jury. Works from NGMA’s own collection sit alongside these pieces, sparking a dialogue between established masters and fresh voices.

A first for the institution, the exhibition also allows the public to purchase sculptures directly from the gallery. This sales initiative, championed by Director General Dr. Sanjeev Kishor Goutam, aims to provide meaningful financial support to makers whose practice demands time, material and expertise.

Beyond the market, the show underscores India’s sculptural legacy—from the Harappan "Dancing Girl" and the Priest‑King of Mohenjo‑Daro to the temple reliefs of Ajanta, Ellora and Khajuraho—while highlighting contemporary figures such as **Anish Kapoor** and **Subodh Gupta** who have brought Indian sculpture to the global stage.

[View original article](https://timesofindia.indiatimes.com/city/delhi/from-harappa-to-today-takshanam-celebrates-indias-sculptural-legacy-at-ngma/articleshow/135119118.cms)

From Harappa to Today: Takshanam Celebrates India’s Sculptural Legacy at NGMA

**Kelvingrove Art Gallery and Museum** in Glasgow has taken a mummified male head – along with a painted coffin, a foot and a right hand from the Valley of the Kings – out of public view and placed them in storage. A notice at the gallery explains the move as “a mark of respect” for the human remains.

The Egyptian collection has been a cornerstone of the museum since its opening in 1901, drawing millions of visitors each year who come to see ancient artifacts alongside the building’s Victorian architecture.

The decision sparked a sharp political response. Conservative MSP Murdo Fraser dismissed the removal as “ridiculous” and “woke madness”, arguing that museums should preserve history rather than bow to contemporary sensibilities. His remarks illustrate the growing cultural clash over how institutions handle human remains.

The episode highlights a wider conversation in the museum world: balancing scholarly access and public education with ethical responsibilities toward the deceased. As museums reassess their displays, the debate at Kelvingrove may become a touchstone for future policy decisions.

[View original article](https://www.lbc.co.uk/article/mummy-egypt-museum-removed-glasgow-kelvingrove-5HjdkGb_2/)

That’s a wrap! Mummy removed from museum display amid ethics concerns

GTZ Art Gallery, tucked into Dallas’s Oak Cliff neighborhood, has quickly become a vibrant hub for contemporary Mexican art. Curated by **Josue Gutiérrez**, the space blends the energy of his Mexican roots with the eclectic spirit of the local scene, offering visitors a splash of color and cultural dialogue.

A native of Querétaro, Gutiérrez spent seven years in a corporate role at Procter & Gamble before swapping spreadsheets for canvases. After moving to Dallas in 2022 to study restaurant management, a chance studio visit ignited his passion for painting. He launched his first show from his Munger Place home, and a subsequent trip back to Mexico inspired an open‑call that brought ten emerging painters together for the gallery’s inaugural exhibition, **"México"**.

Looking ahead, Gutiérrez envisions four major shows each year, punctuated by collaborations with fashion brands and experimental objects‑of‑art projects. Plans are already afoot for a solo show in 2027 and potential pop‑ups in Berlin and Copenhagen, positioning GTZ as a conduit between Dallas and the broader international art community.

[View original article](https://www.dallasnews.com/arts-entertainment/visual-arts/article/gtz-art-gallery-oak-cliff-mexican-artists-22480866.php)

Oak Cliff’s GTZ Art Gallery showcases contemporary Mexican artists

The solo show by **Raihan Vadra**, titled *No Idea is Final*, opened at **Bikaner House** in New Delhi, offering a visual chronicle of recent street protests.

Within hours, the venue’s management cited its policy and asked for the removal of several photographs that it deemed inconsistent, leading to a partial takedown of the work.

The artist, who had submitted a detailed proposal in advance, was given a narrow window to comply, a situation that quickly became a flashpoint for debates about artistic autonomy.

Prominent political voices condemned the decision as an attempt to silence youthful expression, framing the episode as a warning to other creators.

The remaining pieces stay on display, turning the exhibition into a live case study of the tensions between public cultural institutions, political sensitivities, and contemporary art.

[View original article](https://www.deccanchronicle.com/nation/raihan-vadra-art-show-row-bikaner-house-removes-photos-over-policy-violation-1997866)

Raihan Vadra Art Show: Bikaner House Says Photos Were Violating Policy

An enchanting new immersive installation called **Neverland** has taken over the Gas Hall of **Birmingham Museum & Art Gallery**, turning the historic space into a festive wonderland for families. \n\nThe environment glitters with fairy lights and winds through whimsical forests, a pirate ship, a crocodile’s lair, an enchanted camp, a creepy cave, a mermaid’s pool, a rowing boat, moving pictures and even a cosy bedroom complete with a Christmas tree and a teddy bear. \n\nVisitors can tie a ribbon to a wishing tree, sending hopes to children at Great Ormond Street Hospital, while interactive games and surprise moments keep the magic alive. A small shop offers keepsakes to remember the adventure. \n\nCreated by Culture Creative, the experience blends heritage sensitivity with playful storytelling, and proceeds support the Birmingham Museums Trust and the GOSH charity. Timed entry slots are limited, so early booking is advisable.

[View original article](https://www.birminghammail.co.uk/whats-on/family-kids-news/gallery/neverland-birmingham-museum--art-34800634)

Neverland at Birmingham Museum & Art Gallery - 23 pictures of what to expect

Birmingham Museum & Art Gallery has turned its Gas Hall into **Neverland**, a sprawling Christmas‑time adventure that opens on 23 October and runs through to 3 January 2027.  Families can wander from the moment they step inside the museum into a whimsical forest of fairy lights, pirate ships and an enchanted camp, all set against the backdrop of J M Barrie’s beloved tale.

Designed by **Culture Creative**, the experience is packed with interactive set pieces: a full‑size galleon crewed by a live Captain Hook, a crocodile that slithers through the hall, a mermaid’s grotto, moving pictures and even a bedroom complete with a Christmas tree and teddy bear.  Visitors can tie wishes to a **wishing tree**, sending support to the children of Great Ormond Street Hospital, the historic home of the Peter Pan legacy.

Tickets start at £12 for adults and £8 for children, with timed entry to manage capacity.  A portion of each sale goes to the **GOSH Charity**, while the partnership between Birmingham Museums Trust, Sony Music/RG Live and Culture Creative helps fund the museum’s vital programmes.  The result is a festive, family‑friendly immersion that brings the magic of Neverland to life in the heart of the city.

[View original article](https://www.birminghammail.co.uk/whats-on/family-kids-news/first-look-neverland-birmingham-brand-34799812)

a brand new Christmas attraction in the city centre

Denver’s downtown corridor is buzzing with family‑friendly Halloween fun. The 12th annual **BOOnion Station** transforms **Union Station**’s Great Hall into a trick‑or‑treat haven, with mini‑train rides, balloon artists and a costume contest on Thursday, Oct. 29. Across the street, **Larimer Square** hosts a free Trick‑or‑Treat Street on Saturday, Oct. 24, offering candy, a photo booth and more seasonal activities.

The Biennial of the Americas brings an unexpected adult playground to the city: the inflatable sculpture **oximoron** by Pablo Kobayashi and Lucía Aumann. This 27‑foot‑long, 13‑foot‑high work invites visitors to move through its shifting interior at **Denver Pavilions** from Oct. 23‑25. Admission is free, though a 30‑minute guided slot for small groups requires a reservation, and a Friday night opening party adds live music and drinks.

Film lovers can head to Boulder for the 14th annual **Boulder Jewish Film Festival** at the Dairy Arts Center, running Oct. 25‑Nov. 1. The program spotlights contemporary Jewish culture, including a screening of "You Had to Be There," which revisits a 1972 Toronto production of *Godspell* featuring Gilda Radner, Eugene Levy and Martin Short. Each showing is followed by a talkback that deepens the conversation.

On the fringe of the horror calendar, indie director Ty Bradford’s B‑movie‑esque **UCK** premieres at **Mutiny Comics & Coffee** on Oct. 29. The event blends a screening with a tongue‑in‑cheek pre‑show “vacuum training” that lets participants practice sucking alien entities out of a carpet. Tickets are $18 for the film alone, $25 with the interactive experience, and a second showing lands at the Dairy Arts Center on Nov. 6.

[View original article](https://www.denverpost.com/2026/10/22/free-halloween-events-union-station-film-festivals-oximoron/)

Union Station frights, an inflatable sculpture for grownups, and more things to do in Denver

The city’s most recognizable sites have been transformed into a canvas for **Art is Freedom**, an exhibition that brings the voices of modern‑slavery survivors into public view. From bustling squares to historic monuments, the works invite passers‑by to pause and confront a hidden crisis that unfolds on the streets of London.

One of the most moving pieces comes from JR, a man who spent fifty years in forced labor after being taken abroad as a child. After returning to the UK, he faced isolation and severe mental health challenges, but the Hestia workshops reignited his creative spark. Using watercolour, acrylic, graffiti and even knitting, JR describes his art as a rebirth, a way to reclaim his identity after decades of oppression.

Curated by a panel of survivors and the Independent Anti‑Slavery Commissioner, the exhibition’s theme **This is me** encourages artists to define themselves beyond their trauma. The pieces explore notions of freedom, joy and hope, turning statistics into personal narratives that speak directly to viewers.

Beyond aesthetics, the project aims to turn awareness into action. By drawing attention to the signs of exploitation, the display hopes to empower the public to intervene, share the stories on social media and support the broader fight to end modern slavery.

[View original article](https://www.standard.co.uk/culture/exhibitions/art-is-freedom-modern-slavery-b1301886.html)

London landmarks show art exhibition by survivors of modern slavery

An exquisitely carved blackstone stele of **Vishnu** emerges from the Pala tradition of northeastern India, dating to the 11th‑12th century. Standing just over a metre tall, the work captures the deity’s serene visage, delicate jewelry and a flowing sash, while the surrounding panels hint at a rich narrative populated by **Lakshmi**, **Saraswati**, and mythic creatures such as a **vyala** and **makara**.

The piece entered the Western market through the **René Jaquerod** collection in Zurich and was first offered at a **Christie’s** London sale in March 1973. Its buyer kept the sculpture for more than five decades, a rarity in a market where objects often change hands quickly. When it resurfaced in June 2026 as part of the “Sublime Shadows: South Asian Art from a Distinguished Collection” sale, it commanded £635,000—more than nine times the high estimate and roughly Rs 8.16 crore.

Beyond the headline price, the stele illustrates the technical virtuosity of Pala artisans. The finely rendered facial features, the subtle modeling of the dhoti and belt, and the intricate low‑relief motifs on the back panel demonstrate a sophisticated grasp of human anatomy and decorative symbolism. Even the missing fragments speak to the sculpture’s age and the challenges of preserving such heritage.

The sale underscores a growing appetite for South Asian antiquities among global collectors, especially pieces that combine historical depth with exceptional craftsmanship. It also highlights how a well‑documented provenance, anchored by a respected Swiss collection, can enhance confidence and drive competitive bidding at major auction houses.

[View original article](https://timesofindia.indiatimes.com/life-style/the-arts/an-11th-12th-century-vishnu-sculpture-from-indias-pala-era-entered-a-swiss-collection-sold-at-a-1973-auction-and-stayed-with-its-buyer-for-53-years-before-fetching-rs-8-16-crore-over-nine-times-the-high-estimate/articleshow/135110906.cms)

An 11th-12th-century Vishnu sculpture from India's Pala era entered a Swiss collection, sold at a 1973 auction and stayed with its buyer for 53 years before fetching Rs 8.16 crore, over nine times the

The Gulmohar BAG collective is staging **\"The Art Squares\"**, a vibrant group painting show in Belagavi from Oct 25‑29. It will fill the Kalamaharshi K.B. Kulkarni Art Gallery at Varerkar Natya Sangh, near Herwadkar School in Tilakwadi, turning the space into a hub of contemporary colour.

The opening will be honoured by theatre veteran **Swati Kulkarni**, photographer **Dnyanesh Oulkar**, and artist **Pritesh Rangole**. Their presence underscores the interdisciplinary spirit of the project.

Each evening a different artist will create a live painting, offering visitors a glimpse of the creative process. The schedule runs: **Pritesh Rangole** (Oct 25), **Shilpa Khadakbhavi** (Oct 26), **Komal Dalwai** (Oct 27), **Sushma Deshpande** (Oct 28), and **Shashikala Patil** (Oct 29).

The exhibition promises a dynamic dialogue between finished works and on‑stage creation, inviting the local community to engage directly with the artists and their evolving canvases.

[View original article](https://www.thehindu.com/news/national/karnataka/gulmohar-bag-art-exhibition-in-belagavi-from-october-25-29/article71610367.ece)

Gulmohar BAG art exhibition in Belagavi from October 25-29

**Ashok Gehlot**, the former chief minister of Rajasthan, has publicly denounced the **BJP** for allegedly removing more than 70 photographs from a recent show by **Raihan Vadra** at **Bikaner House** in Delhi. In a terse post on X, Gehlot framed the act as a direct attack on democracy and an instance of state‑sanctioned censorship.

The exhibition, which documented youthful protest movements across Delhi, appears to have struck a nerve with authorities who, according to Gehlot, were unsettled by its political charge. The removal of such a substantial portion of the work raises questions about the limits of artistic expression in a climate where cultural venues are increasingly entwined with partisan agendas.

The episode adds to a growing chorus of concerns among artists and curators about the vulnerability of contemporary art to political pressure in India. As the debate unfolds, the fate of the remaining photographs and the future of similar socially engaged projects remain uncertain, underscoring the fraught relationship between creative freedom and governmental oversight.

[View original article](https://www.aninews.in/news/national/politics/direct-attack-on-democracy-former-rajasthan-cm-ashok-gehlot-slams-bjp-over-alleged-removal-of-photos-from-raihan-vadra8217s-exhibition-at-bikaner-house20261022110024/)

Former Rajasthan CM Ashok Gehlot slams BJP over alleged removal of photos from Raihan Vadra’s exhibition at Bikaner House

Montana Tech’s engineering team has turned a piece of local heritage into a showcase of modern fabrication, employing high‑resolution 3D printers to recreate a weathered historic statue that once stood at a downtown courthouse. The project began with a meticulous laser scan of the original, capturing every crack and patina, then translating that data into printable layers that faithfully echo the work’s original texture.

The printed replica, produced from a durable polymer blend, now resides in the university’s technology showcase, offering students a tangible case study in how digital tools can preserve cultural artifacts. Faculty members highlight the interdisciplinary collaboration—combining history, conservation, and additive manufacturing—that made the endeavor possible, and they see it as a model for future preservation efforts across the state.

Beyond the classroom, the initiative has sparked community interest, drawing visitors who appreciate seeing a beloved landmark revived through cutting‑edge technology. By bridging past and present, Montana Tech demonstrates how 3D printing can serve both educational goals and the broader mission of safeguarding regional heritage.

[View original article](https://billingsgazette.com/news/state-and-regional/article_8b690d05-972f-5a4f-b5a8-bea0933b08b9.html)

Montana Tech used 3D printers to replicate historic statute

Windorah, a tiny outback town of about a hundred residents, has added a new landmark to Australia's famous road‑trip scenery – a 4.6‑metre tall sculpture of a yabby perched beside Cooper Creek. The oversized crustacean, funded by a $13,000 state grant, is already being billed as the latest ‘big thing’ to lure curious travelers into the remote community.

The piece was conceived and built by Toowoomba‑based artist **Jobella Bennett**, who was approached by the local council to ‘make a yabby’ as large as possible. Over three months she fashioned the sculpture from bird‑wire and sheet metal, drawing on her own research into the creature’s form. Bennett describes the project as her first major commission and a stepping stone toward larger public works.

The yabby joins a quirky pantheon of oversized objects that pepper the Australian landscape – from Ballina’s giant prawn to Woombye’s towering pineapple. Such monuments have become a grassroots strategy for small towns to boost tourism, celebrating local quirks while offering photo‑ops for passing motorists. Windorah’s annual international yabby races now have a permanent, metal counterpart.

Scholars note that the ‘big things’ phenomenon has evolved from roadside novelties of the 1960s into a semi‑professional industry. Historians at the University of the Sunshine Coast observe that community groups, councils and private firms now collaborate to produce sculptures that are both kitsch and deliberately artistic. The Windorah yabby exemplifies this blend of local pride, artistic ambition and the continuing Australian love of monumental whimsy.

[View original article](https://www.abc.net.au/news/2026-10-22/big-yabby-statue-windorah-outback-queensland/107286084)

Giant yabby unveiled in Windorah as Australia's latest 'big thing'

The 32nd edition of **LA Art Show** will occupy the West Hall of the Los Angeles Convention Center from Jan. 6‑10, featuring more than 90 galleries from the U.S. and abroad.

For 2027 the fair introduces several firsts: a charitable alliance with **GLAAD**, directing 15 % of ticket revenue; a new ticketing platform **Tixr** promising a smoother buying experience; and a companion fair called **Art Under 10** that will run in Petree Hall Jan. 8‑10, spotlighting emerging galleries and works priced under $10,000, included with the main ticket.

A mix of familiar and fresh participants will line the booths. Returning names include JS Gallery (Greece), Rebecca Hossack, Pontone, Pigment Gallery, Arcadia Contemporary, Markowicz Fine Art, Provident Fine Art, Palette Contemporary, Rehs Galleries, Bruce Lurie and MRG Fine Art. New arrivals such as Avant Gallery, Bluerider ART, CRIA, Contessa Gallery, Nisticovich Gallery, Winsor Birch, Allegro Studio Art and Kaibi Gallery add an international flare.

Producer and executive director Kassandra Voyagis emphasizes that the show strives to be more than a market, positioning it as a crossroads where cultures, ideas and collectors meet in unexpected ways.

[View original article](https://www.hollywoodreporter.com/lifestyle/arts/la-art-show-2027-event-tickets-exhibitor-schedule-1236737771/)

LA Art Show Unveils Plans for 2027 Event

Stepping into the dimly lit chamber of the **Guggenheim Bilbao**, visitors are greeted by a sparse carpet, pinpoint lights and an immersive soundscape that pits the acapella voice of **Nina Simone** against the echoing reply of **David Bowie**. The two recordings, never performed together, become a single emotional thread that pulls the audience into a private conversation of love and yearning.

The work is built around a song that first appeared in a 1957 film, was transformed by **Simone** in 1966, and later re‑imagined by **Bowie** a decade after. **Steve McQueen** was drawn to the way each artist re‑cast the melody, highlighting a yearning that transcends time. By aligning the two versions, the installation creates a fire‑like resonance that feels both intimate and universal.

Titled **66–76–26**, the numbers reference the years of the recordings and the exhibition itself, anchoring the piece in moments of social upheaval—from civil‑rights protests to the Vietnam era. In the present climate of turbulence, the work invites contemplation of what endures: a simple, stubborn belief in love.

Beyond this specific duet, the show sits within McQueen’s broader practice of probing perception, memory and embodiment. A parallel film programme showcases his cinematic achievements, reinforcing the dialogue between moving image and gallery space that has defined his career from the Venice Biennale to the Tate.

[View original article](https://www.euronews.com/2026/10/21/dialogue-in-the-dark-david-bowie-meets-nina-simone-at-steve-mcqueens-exhibition-at-guggenh)

Dialogue in the dark: David Bowie meets Nina Simone at Steve McQueen's exhibition at Guggenheim Bilbao

An ambitious public‑art project is set to honor Detroit’s trailblazing first Black mayor, **Coleman Young**, with a bronze figure that will stand in the U.S. Capitol’s National Statuary Hall. The work will also be cast in an identical twin for placement on Detroit’s riverfront, a rare “double‑statue” arrangement that underscores Young’s dual legacy in the capital and his home city.

The sculpture is the vision of self‑taught Detroit artist **Austen Brantley**, who first revealed a 26‑inch maquette at the Charles H. Wright Museum of African American History. Rendered in oil‑based clay, the figure shows Young in a tailored suit, arms folded and slightly leaning forward—a pose that evokes both the confidence of his early days as a Tuskegee Airman and the gravitas of his four‑term mayoral tenure.

Funding for the twin statues has already surpassed $1.2 million, thanks to contributions from Wayne County, the Kresge Foundation, the DTE Foundation, the Knight Foundation and a $250,000 pledge from Bedrock. The campaign also supports the Young Foundation’s scholarship initiatives, which have already awarded $20,000 to more than five hundred students.

When installed, Young will replace the 19th‑century marble of Lewis Cass, making him the first Black individual represented in the Statuary Hall and the first person to have identical statues in both the Capitol and a hometown site. The project reflects a broader wave of statue reevaluations across the country, positioning Young’s bronze as both a celebration of local history and a statement about who we choose to commemorate.

[View original article](https://www.freep.com/story/news/columnists/neal-rubin/2026/10/20/coleman-young-statue-u-s-capitol-national-statuary-hall-collection-wright-museum-austen-brantley/92332629007/)

Coleman Young statue at U.S. Capitol will have a twin in Detroit

Garvit Bhirani is a Gurugram‑based journalist who now serves as Deputy Chief Content Producer at **LiveMint**, steering national and international coverage with a keen eye for accuracy and narrative depth.

Over six years in the field, he has shaped stories for a range of platforms – from curating news for Google at Vaco Binary Semantics to reporting on health, education and agriculture for 101reporters and News9, and editing entertainment and news content across several outlets.

He holds a bachelor’s and a master’s in journalism and mass communication from Guru Gobind Singh Indraprastha University and Gurugram University. During his college years he joined India’s only non‑profit student journalism network, anchoring daily news updates and producing his own weekly show, **Data Fix**.

His commitment to rigorous reporting is reflected in fellowships such as the YES Foundation Media for Social Change and the VOICE Fellowship, as well as a suite of certifications in data journalism, media literacy and misinformation mitigation from institutions like the Thomson Foundation and AFP.

[View original article](https://www.livemint.com/companies/people/who-is-priya-s-kapur-how-she-honoured-late-husband-sunjay-with-bronze-sculpture-at-sona-comstar-video-11792493835249.html)

Who is Priya S Kapur? How she honoured late husband Sunjay with bronze sculpture at Sona Comstar

The modern powder room has shed its purely utilitarian roots to become a bold statement of luxury on a modest footprint. No longer a hidden afterthought, this intimate space invites homeowners to experiment freely, turning a brief pause for guests into a curated design experience.

Because the room is small, designers can abandon the compromises required in larger interiors. Bold wallpaper, sculptural basins, avant‑garde mirrors and theatrical lighting become the main actors, each capable of defining the room’s personality without overwhelming it.

Wallpaper acts as the room’s architect, whether it’s a lush tropical mural, a moody floral print or a shimmering metallic pattern. A single, striking wall treatment can set the tone, while a carefully chosen artwork or a vintage sculpture adds a personal gallery feel. Mirrors, too, move beyond reflection; an oversized circular frame or a hand‑finished brass design can serve as a centerpiece.

Lighting is the invisible hand that ties everything together. **Rachna Bajaj Joshi**, director at **Abby Lighting**, notes that in a luxury powder room light does more than illuminate – it defines character. Warm sconces, layered ambient and accent fixtures, and strategic placement bring out the richness of stone, marble and textured finishes while remaining functional.

The basin often becomes the room’s sculpture. Monolithic stone sinks, translucent onyx vessels or sharply fluted basins turn the fixture into a focal point. **Rishi**, an architect from Jaipur, cautions against over‑statement: choose one or two statement pieces and let the remaining elements support them.

From a market perspective, attention to these intimate spaces signals a nuanced understanding of premium living. **Nitin Agarwal**, director at **SNN Estates**, observes that thoughtful material selection and design in a powder room offers guests a glimpse into the home’s overall design philosophy, leaving a lasting impression despite the room’s size.

In the end, the powder room proves that luxury is less about square footage and more about imagination. By balancing drama with restraint, it transforms a brief functional pause into an unforgettable visual experience.

[View original article](https://www.firstpost.com/flaunt/homes-interiors/small-space-big-statement-inside-the-rise-of-the-indulgent-powder-room-14053427.html)

Small space, big statement: Inside the rise of the indulgent powder room

**Ankara**’s bold prints have moved beyond the runway, finding a dynamic place in galleries and public spaces. Artists across the continent and beyond are weaving the textile into paintings, sculptures and immersive installations, turning a garment into a canvas for cultural conversation.

The fabric’s intricate patterns serve as a visual shorthand for identity, allowing creators to reference personal histories and collective memory. By re‑contextualising motifs that once signalled community, status or celebration, they invite viewers to contemplate the layered narratives of modern African experience.

This crossover blurs the line between fashion and fine art. Where once Ankara was confined to clothing, it now punctates walls and three‑dimensional works, challenging traditional hierarchies and prompting audiences to recognise textile design as a form of artistic expression.

Sustainability also features prominently: many practitioners source reclaimed or repurposed Ankara, turning waste into vibrant material. The practice underscores a growing ecological consciousness while highlighting the durability of the cloth.

Collaborations between visual artists and fashion designers have multiplied, producing hybrid projects that fuse runway aesthetics with gallery rigor. These partnerships showcase how textiles can transcend their conventional roles, reinforcing the collaborative spirit of today’s art world.

[View original article](https://www.newsbytesapp.com/news/lifestyle/ankara-fabric-in-contemporary-art-5-facts/story)

How Africa's ankara fabric is inspiring modern art

**S. Kaviyarasan**, a 27‑year‑old self‑taught micro‑artist from Chennai, turns the grand scale of Tamil Nadu’s temple sculptures into delicate works that fit on a pencil lead, a piece of chalk or a fragment of sandalwood.

His fascination began in childhood, copying the stone chains of Varadaraja Perumal Temple, the rotating stone ball of Kailasanathar Temple, and the intricate carvings of Sri Margabandeeswarar Temple. Those motifs surface in his miniature pieces, most strikingly in a single‑piece sandalwood **Nataraja** that also incorporates the sages Patanjali and Vyaghrapada and a tiny Ravana lifting the Himalayas, casting a shadow that resembles a praying figure.

History also informs his work; he has rendered **Rajendra Chola I** in chalk and paid homage to the Gangaikonda Cholapuram temple, reminding viewers of the lesser‑known Chola ruler’s legacy.

His technical skill has earned a Guinness World Record for carving 617 interlinked chain links from pencil lead, as well as entries in the Asian and Indian Books of Records, and he is now expanding into digital art.

Born to a tailor father and a homemaker mother in Dharmapuri, Kaviyarasan practiced in secret until teachers recognized his talent and encouraged him to compete. He now hopes to bring the subtle language of temple art to a wider audience through exhibitions and competitions.

[View original article](https://www.thehindu.com/news/national/tamil-nadu/self-taught-artist-recreates-the-magnificence-of-tamil-nadus-temples-in-miniature/article71599778.ece)

Self-taught artist recreates the magnificence of Tamil Nadu’s temples in miniature

Late Friday night the platform walls of the Kempegowda Metro station in Bengaluru became a sprawling digital canvas. Over 16,000 sq ft of surface were lit by a 20,000‑lumen Epson projector, turning the commuter space into the immersive show **Stone to Life**.

The projection mapped five iconic mythic forms—Yali, Vrishabha‑Kunjara, Gandabherunda, Makara and Kirtimukha—drawn from Karnataka’s temple architecture. Curated by Team Gen O of Mumbai, the visual narrative pulsed across platforms 3 and 4, inviting travelers to pause and absorb a living archive of regional heritage.

Historian Srinivas Sistla highlighted how the display bridges ancient symbolism with contemporary public space, while advertising executives see the technology as a blueprint for future ad‑tech in metros. The collaboration hints at a new role for transit hubs, not just as conveyance points but as dynamic venues for cultural storytelling and digital branding.

[View original article](https://timesofindia.indiatimes.com/city/bengaluru/bengalurus-kempegowda-metro-station-hosts-immersive-heritage-art-display/articleshow/135034220.cms)

Bengaluru’s Kempegowda Metro station hosts immersive heritage art display

**Shivaswamy**, a Bangalore‑based lawyer, turned to art during a post‑surgery recovery after a doctor urged him to “look at beautiful things”. Scouring demolition sites, he collected cheap or discarded prints of **Raja Ravi Varma**, sparking a lifelong fascination.

He argues that Varma’s power lies in his appeal to the everyday Indian. While many artists remain confined to elite patrons, Varma’s oleograph prints placed deities on the walls of pooja rooms and even autorickshaw dashboards, making the divine feel tangible to the common man.

This enthusiasm has blossomed into a scholarly undertaking: a six‑volume series titled **Raja Ravi Varma: An Everlasting Imprint**. So far four volumes are complete, each built from archives, family collections, and on‑the‑ground research that treats the picture itself as the protagonist rather than the painter.

Shivaswamy sees his legal training as an asset. Both lawyers and historians reconstruct absent facts, weigh testimony, and demand corroboration before committing anything to record. His rigorous standards mean anecdotal family lore is only included when independently verified.

For newcomers, he advises starting with the cultural context of Varma’s images—how they entered current affairs and everyday devotion—before diving into the visual details. The result is a fresh lens on a 19th‑century artist whose work still shapes India’s visual imagination.

[View original article](https://indianexpress.com/article/cities/bangalore/lawyer-ganesh-shivaswamy-raja-ravi-varma-art-history-10926943/)

Writer’s Corner | From court to art gallery: the lawyer chronicling Ravi Varma’s legacy

**Heather Wise**’s makeshift sculpture, dubbed the **Temporary Jesus Head**, began as a pragmatic solution in 2016 when the marble baby‑Jesus figure at **Sainte‑Anne‑des‑Pins Catholic Church** was stolen. Working with cheap dollar‑store clay, Wise fashioned a darker, exaggerated head to give the damaged statue dignity while she learned to carve a proper replacement.

The result, with its pronounced nose and spiky crown, ignited a viral firestorm. Within days a Facebook post amassed millions of views, and commentators across the globe likened the piece to a cartoon character or a chia‑pet. International outlets picked up the story, turning a local repair job into a worldwide joke.

The clay head soon softened in the rain, was reclaimed by the parish, and the original marble piece was reattached, but the controversy lingered. Wise faced harsh headlines and cyber‑bullying, yet the Sudbury art community rallied: students fashioned masks, a garage band wrote a tribute song, and some locals even inked the odd visage on their skin. She now laughs at the memes that placed the head on politicians and pop‑culture icons.

In the decade since, the episode has been re‑examined in art magazines and a German compendium of artistic mishaps, cited as a case of “so bad it’s good.” Critics discuss it alongside other infamous restoration blunders, noting how the incident sparked conversations about the boundaries of reverence and creativity.

Perhaps the most unexpected outcome is personal. The ordeal nudged Wise, once agnostic, toward regular church attendance and contemplation of Catholicism, echoing her sentiment that imperfection is a shared human condition.

[View original article](https://www.cbc.ca/news/canada/sudbury/artist-sudbury-temporary-jesus-head-sculpture-international-bullying-resilience-ridicule-9.7383714)

Sudbury artist who created temporary Jesus head sculpture 10 years ago has risen above the furor

The show “Continuum” offers a sweeping look at **Asit Kumar Patnaik**’s three‑decade journey, gathering early sketches to recent canvases. It maps his shift from wood and fiberglass to layered paper collages, with texture becoming a hallmark.

Central to the retrospective is his celebrated **Man‑Woman** series, where semi‑realistic figures probe love, attraction, conflict and detachment. Red‑toned hair marks women’s vitality and empowerment, presenting them as resilient across ages.

Male figures appear with humility, fostering a visual dialogue of mutual respect. The exhibition underscores Patnaik’s consistent curiosity, even as his visual language grows more confident and complex.

A gold medallist from Banaras Hindu University, Patnaik has shown widely and earned the 2024 Best Solo Exhibitor Award at **Art Expo New York**, confirming his standing in both Indian and international arenas.

[View original article](https://theprint.in/india/continuum-traces-three-decades-of-artist-asit-kumar-patnaiks-practice/3075181/)

'Continuum' traces three decades of artist Asit Kumar Patnaik's practice

Emma Jayne Morris, a 56‑year‑old baker from Aberdare, has turned the art of cake decorating into a hyper‑realistic portrait of **Princess Kate**. The sculpted head, built from Rice Krispies, marshmallows and two kilograms of modelling chocolate, looks startlingly lifelike, inviting visitors to pause and compare it with the real royal.

The two‑week project consumed roughly 50 kg of sugarpaste, rainbow dust sparkles and countless meticulous hand‑carved details, from the delicate earrings to the signature hairstyle. Morris describes the process as a labor of love, recounting how she reshaped the nose multiple times before achieving the final likeness.

The finished piece will debut at **Cake International** in Birmingham’s **NEC** on 6 November, offering fans a chance to stand beside a confectionary rendering of the Duchess of Cambridge. It joins a growing portfolio of royal‑inspired edible art that bridges culinary skill and pop‑culture fascination.

[View original article](https://www.birminghammail.co.uk/news/midlands-news/lifelike-princess-kate-cake-heading-34772167)

Lifelike Princess Kate cake heading for Birmingham

**Sudarsan Pattnaik**, a Padma Shri‑honoured sand artist, transformed the sands of **Puri Beach** into a towering tribute to the goddess Durga. The ten‑foot‑tall figure was built from eight tonnes of sand and a vivid palette of 32 fruits and vegetables, including oranges, apples, grapes, cucumbers and bitter gourd, arranged with the precision of a culinary collage.

Completed in roughly five hours, the sculpture shimmered with colour and texture, its edible adornments echoing the festive abundance of Durga Puja. The artist’s swift execution highlighted both skill and the fleeting nature of the medium, as the tide promised to reclaim the work.

Beyond its visual feast, the installation conveyed a blessing for strength, happiness, peace and prosperity, marrying artistic expression with the spiritual wishes of the holiday.

[View original article](https://www.ndtv.com/offbeat/sand-artist-sudarsan-pattnaik-creates-10-foot-tall-maa-durga-artwork-with-fruits-and-vegetables-12201007)

Sand Artist Sudarsan Pattnaik Creates 10-Foot-Tall Goddess Durga Sculpture With Fruits And Vegetables

An elegant showcase of contemporary Indian jewellery unfolded at **Jawaharlal Darda Art Gallery**, where designer **Purva Kothari**—founder of **Intrea Jewels**—presented a vibrant new collection. The exhibition opened under the patronage of cultural figures and welcomed visitors eager to see the fusion of classic craftsmanship with modern aesthetics.

Kothari’s pieces celebrate the festive spirit of Diwali while remaining versatile enough for everyday wear. Crafted in 18‑carat gold and set with diamonds, emeralds, rubies and other gemstones, the jewellery balances heavy traditional necklaces with sleek statement earrings, bangles, rings and even men’s accessories such as cufflinks and buttons.

The display highlights a spectrum of finishes and design motifs, catering to varied tastes and budgets. From office‑ready elegance to wedding‑day grandeur, the collection invites collectors and casual admirers alike to experience a fresh take on Indian ornamental tradition.

[View original article](https://www.thehitavada.com//Encyc/2026/10/18/intrea-jewels-showcases-stunning-collection-of-jewellery-last-day-today.html)

Intrea Jewels showcases stunning collection of jewellery, last day today

The **Griffith Spring Festival** turns the city centre into a bright gallery of fresh citrus, where more than 60 sculptures are assembled from locally‑grown oranges and grapefruits. Over 100,000 pieces of fruit, supplied by regional growers, become the raw material for these temporary works of art.

Artists build the pieces on wire frames, securing the fruit with elastic bands. The fruit is washed, waxed and polished so it retains its shine under the summer sun. **Vito Mancini**, vice‑chair of the Griffith and District Citrus Growers Association, explains that the wax not only adds gloss but also locks in moisture, keeping the sculptures from wilting.

Beyond the visual spectacle, the installations echo Griffith’s multicultural fabric. **Jone Laweloa** crafted a traditional Fijian house entirely from oranges, a nod to his heritage and a reminder of the town’s more than 60 nationalities. He spent a week on the frame and only a few hours attaching the fruit, turning a personal story into a public display.

When the two‑week exhibition ends, the citrus is collected and pressed into juice, completing a cycle that links agriculture, creativity and community spirit. The festival thus celebrates not just the region’s reputation for high‑quality citrus, but also the shared identity and hospitality that define Griffith.

[View original article](https://www.abc.net.au/news/2026-10-18/griffith-spring-festival-citrus-sculptures/107263554)

Citrus sculptures showcase business, community at Griffith's spring festival

**Leeroy New** has turned discarded IQOS devices into a sculptural tide called **Curious Waves**, now installed in the newly redesigned boutique at the Entertainment Mall of **SM Mall of Asia**. The work piles the tiny metal and plastic parts of the devices into layered ridges that mimic the rolling motion of Manila Bay’s waters.

Drawing on his upbringing in General Santos and his time spent surfing in La Union, the artist channels the language of waves—swells, tunnels, ripples—into the composition. The sculpture becomes a visual echo of the ocean, inviting shoppers to see familiar components in an unfamiliar, fluid form.

New’s practice revolves around curiosity: he disassembles objects, studies their mechanics, and reassembles them into something unexpected. He hopes visitors will pause, spot the individual device pieces, and experience a small discovery within the retail setting.

The piece is part of IQOS’s “Curiosity in Motion” campaign, a partnership that may extend to merchandise and future installations, reinforcing the idea that everyday materials can be reinvented through imaginative inquiry.

[View original article](https://www.manilatimes.net/2026/10/18/the-sunday-times/arts-awake/leeroy-new-transforms-retired-devices-into-curious-waves/2447945)

Leeroy New transforms retired devices into ‘Curious Waves’

The Golden Rock Railway Workshop, a historic industrial hub dating back to 1928, opened its gates for a public celebration, inviting locals to explore its massive infrastructure and join Ayudha puja festivities.

The highlight was the newly unveiled **Sculpture Park** near the West Gate, where discarded steel and machinery have been transformed into 23 striking installations—from a vintage car and aircraft to iconic landmarks like the Eiffel Tower and the Leaning Tower of Pisa—each forged from the workshop’s own scrap.

Among the most talked‑about pieces is the anamorphic sculpture that morphs into the faces of former President **A.P.J Abdul Kalam** and **Mahatma Gandhi** when viewed from the right angle, a clever nod to engineering precision and national reverence.

Visitors also wandered the Workshop Training Centre, where historic photographs and scale models trace the evolution of locomotive maintenance, adding a nostalgic layer to the day’s industrial art experience.

[View original article](https://www.thehindu.com/news/cities/Tiruchirapalli/railway-workshop-opens-infrastructure-and-sculpture-park-to-the-public/article71596928.ece)

Railway Workshop opens infrastructure and Sculpture Park to the public

Winter concert plans are taking shape as the commission set aside $1,500 for the **Afro‑Semitic Experience**, aiming for a January 17 performance that will highlight civil‑rights themes through music and student artwork. Funding also moved forward for a “Be Kind” mural at John Pettibone School, a modest $500 contribution that hinges on additional community fundraising, and a $750 advertising boost for an upcoming show at the historic **Merwinsville Hotel**. Smaller grants, including $200 for a Girl Scouts initiative, round out a slate of modest but targeted investments.

A recurring topic was the potential creation of a town arts coordinator. Chair Lou Mandler reported a comparative study of similar roles in nearby municipalities and outlined duties ranging from maintaining an online arts calendar to facilitating permits and partnership building. While the idea garnered support, commissioners noted that any hire would require a budget amendment and a formal proposal before the council could act.

The commission also refined plans for its annual Carol Sing on Dec. 12, adding new songs, LED lighting, and strategic placement of child choirs to enhance the festive atmosphere. Meanwhile, local organizations shared updates: the **Merwinsville Hotel** secured a matching grant for roof repairs and is preparing an exhibition featuring over 70 artists; **TheatreWorks New Milford** will stage a reading of a new play by Diana Canova; **Gallery 25** readied an exhibition reception and silent auction; and the **Village Center for the Arts** launched an after‑school program for youth ages 8‑14.

Financially, the commission reported a $39,600 annual budget with $9,697 already spent, leaving a healthy balance after earmarking $2,000 for RiverFest. An updated grant application process was reviewed, emphasizing post‑project reporting to ensure accountability for future funding.

[View original article](https://patch.com/connecticut/newmilford/new-milford-arts-commission-approves-3k-projects-considers-arts-coordinator)

New Milford Arts Commission Approves $3K For Projects, Considers Arts Coordinator Position

An ancient piece of marble known as the **Fagan Fragment**—a fragment of a Parthenon sculpture—has become the centre of an international legal dispute. After a 2022 agreement transferred the fragment from an Italian museum to the **Acropolis Museum** in Athens, Greek officials hailed the move as a model for returning larger Parthenon works, including the famed Elgin Marbles.

The arrangement is now under fire in Italy, where a sealed civil complaint filed by **Dr Mario Trabucco della Torretta**, a UK‑based archaeologist, questions whether the “permanent deposit” violated Italian heritage law. He argues that restitution is both a political and cultural issue that should be debated openly, and that the fragment may have been removed from public Italian ownership without proper authority.

If the court finds that the fragment was improperly exported, the decision could reverberate through ongoing negotiations over the Elgin Marbles. Advocates have suggested a “deposit forever” as a legal workaround to sidestep the **British Museum Act 1963**, which bars the museum from disposing of its collections, while Greece insists it cannot accept a loan of items it regards as stolen.

The complaint does not allege wrongdoing by the **Acropolis Museum** or the Greek state, but it does raise the prospect that Italy’s cultural authorities—and possibly the Carabinieri heritage unit—might seek the fragment’s return. The outcome will test how heritage law intersects with diplomatic efforts to resolve some of the world’s most high‑profile restitution debates.

[View original article](https://www.telegraph.co.uk/news/2026/10/17/elgin-marbles-return-deal-challenge-court/)

Deal that may set precedent for Elgin Marbles return challenged

Sudhir Patwardhan has spent five decades turning the streets of Mumbai into a visual archive of its laboring heart. By day he reads X‑rays as a radiologist, by night he translates the city’s bustling workers onto canvas, offering a tender yet unflinching portrait of those who keep the metropolis moving.

The new exhibition **Another Mode** pulls together more than 250 drawings and sketches selected from a trove of over 4,000 works created between 1970 and 2000. The pieces range from fully realized studies to fleeting notations, laying bare the artist’s habit of constantly observing, jotting, and refining what later becomes a painting. Viewers are invited to step inside Patwardhan’s notebook and witness the moment where line meets intention.

Self‑taught and fiercely independent, Patwardhan absorbed the lessons of modern Indian masters such as Tyeb Mehta, Akbar Padamsee and M.F. Husain, while conversations with poet‑artist Gieve Patel and mentorship from Shankar Palshikar sharpened his critical eye. His medical training sharpens his visual acuity: the same discipline that lets him cut through distractions in a scan translates into a painterly focus on the human condition.

Beyond technique, his work is a meditation on power and empathy. Whether sketching a laborer on a train, a quiet portrait of his wife Shanta, or confronting the uneasy gaze of a subject who questions his motives, Patwardhan balances the roles of doctor and artist, always seeking to understand both the social fabric and the individual psyche of Mumbai.

[View original article](https://indianexpress.com/article/express-sunday-eye/between-the-x-ray-and-the-sketchbook-how-sudhir-patwardhan-learned-to-see-10925689/)

Between the X-ray and the sketchbook: How Sudhir Patwardhan learned to see

**Sweethearts** is a field of hand‑polished concrete hearts placed in Marks Park, the strip between Bondi and Tamarama beaches. The installation forms part of **Sculpture by the Sea**, which is celebrating its 30th anniversary as one of the world’s largest open‑air sculpture festivals.

The work was conceived by Philippa Lysaght, an advocate turned first‑time artist, and Omi McCurdie, a sculptor responsible for the technical design. They chose to cast a heart for every woman killed by an intimate partner in Australia that year, ending up with dozens of pieces. Each heart bears a phrase taken from the language that often excuses or downplays abuse, meant to make viewers recognize and recoil at the familiarity of the words.

Beyond its visual impact, the installation is a fundraiser; the hearts will be sold after the exhibition with proceeds supporting Women’s Community Shelters. The artists hoped the high‑traffic coastal venue would bring the message to the 400,000 visitors expected this season.

**Sculpture by the Sea** began in 1977 as a modest community effort and has grown into a two‑kilometre showcase that injects millions into the local economy while keeping free art accessible to the public. This year's socially engaged work underscores how the festival continues to serve both artistic and civic purposes.

[View original article](https://www.abc.net.au/news/2026-10-17/sydneys-sculpture-by-the-sea-celebrates-30-years/107277040)

Artwork puts focus on violence against women as Bondi's Sculpture by the Sea marks 30 years

On World Food Day, a striking exhibition opened at the **YMCA** on Beach Road in Visakhapatnam, showcasing paintings crafted entirely from millets. The opening ceremony was led by the divisional railway manager, highlighting the event’s civic backing.

The works, sixteen in total, were created over six months by railway employee **Meka Vijay Kumar**. They chart a visual journey from forest‑borne grains and traditional millet cultivation through modern agricultural practices, packaged foods, fast‑food culture, and the resulting health concerns.

Beyond aesthetics, the show seeks to revive food heritage, promote healthier eating habits, and underscore the sustainability of millets. It will remain on display for three days, inviting the public to reflect on the story of nourishment.

[View original article](https://www.thehindu.com/news/national/andhra-pradesh/millet-art-exhibition-marks-world-food-day/article71593820.ece)

Millet art exhibition marks World Food Day

Sixteen striking pieces made from millets line the promenade of **Beach Road** in Visakhapatnam, opening on World Food Day. Curated by railway employee and millet artist **Meka Vijay Kumar**, the show turns the shoreline into a visual chronicle of humanity’s shifting relationship with food.

Each work uses the grain to illustrate a stage—from foraging in forests and wild grains, through the birth of settled agriculture and traditional millets, to the rise of industrial processing and fast‑food culture. The progression invites viewers to trace how dietary habits have shaped health, culture and the environment.

At the inauguration, South Coast Railway Divisional Manager **Lalit Bohra** highlighted the blend of art, public awareness and social welfare, urging the public to re‑embrace millet as a nutritious staple. Kumar explained that six months of research and creation were aimed at making complex nutrition concepts accessible to children, students, farmers and families.

The exhibition underscores a broader message: reviving India’s millet heritage could steer the nation toward a more sustainable and healthier future, reminding visitors that the foods of the past may hold the key to tomorrow’s well‑being.

[View original article](https://www.deccanchronicle.com/southern-states/andhra-pradesh/millet-art-show-in-vizag-presents-16-artworks-listing-human-nutrition-journey-1996452)

Millet Art Show In Vizag Presents 16 Artworks Listing Human Nutrition Journey

Artist **Asit Sain** has transformed a harrowing tragedy into a bronze meditation on loss. The piece, titled **Cry of the Hour**, was forged in the wake of the 2024 murder of doctor RG Kar, a case that sparked massive protests across India and beyond. Sain’s 18‑inch, 12‑kg sculpture captures the final, anguished moments of the slain physician, its raw form a stark reminder of the human cost of gender‑based violence.

The work arrived at the **University of Sussex** through the invitation of the **Global Empathy Community**, which recognized its universal resonance. Displayed by the University Artworks Group, the sculpture sits alongside a body of Sain’s paintings, offering viewers a tactile entry point into a narrative that extends far beyond the campus walls.

Beyond its aesthetic presence, the exhibition signals a growing willingness of academic institutions to engage with contemporary social trauma through art. By hosting **Cry of the Hour**, Sussex not only amplifies a voice of mourning but also underscores the role of sculpture as a catalyst for empathy and dialogue in the global arena.

[View original article](https://timesofindia.indiatimes.com/city/kolkata/sussex-univ-to-display-sculpture-inspired-by-rg-kar-horror/articleshow/134998073.cms)

Sussex Univ to display sculpture inspired by RG Kar Horror

After three years of absence, the 30‑foot bronze sculpture originally unveiled in 1914 is slated to be reinstalled in Arlington’s Section 16, where 442 Confederate soldiers lie. The work, now referred to as the **Moses Ezekiel Sculpture**, will sit on a polished granite base and dominate the historic landscape.

The bas‑relief portrays a mix of wartime and domestic scenes, including a Black woman cradling a child in a “Mammy” pose and an enslaved man marching beside his owner. These iconography and the monument’s scale have long sparked debate about how the Confederacy is commemorated in public space.

The Army’s Office of Cemeteries presented final design plans to the U.S. Commission of Fine Arts, which include several interpretive signs intended to provide historical context. While the wording of those signs remains undecided, their presence signals an effort to frame the artwork within a broader narrative rather than a simple celebration.

The decision to reinstall the piece follows a 2022 recommendation to remove Confederate symbols from military sites, a move that was reversed by the current administration. The controversy reflects a larger cultural conversation about preservation, erasure, and the role of art in remembering a contested past.

[View original article](https://wtop.com/virginia/2026/10/plans-unveiled-for-confederate-memorial-that-will-be-returned-to-arlington-national-cemetery/)

Plans unveiled for Confederate memorial that will be returned to Arlington National Cemetery

The fourth edition of Art Mumbai turns the Mahalaxmi Racecourse into a vibrant Sculpture Park, centering the theme **Material and Memory**. Over four days in November, the fair invites visitors to consider how the very substances of sculpture—clay, stone, wood, metal, fabric and found objects—carry histories, rituals and personal narratives.

Curated by Veeranganakumari Solanki, the park gathers a diverse group of contemporary makers whose practice is rooted in the stories embedded in their chosen media. From tribal teak carvings to industrial bronze, each work acts as a conduit for memory, linking past traditions with present concerns.

Highlights include **Stories Retold** by Pandi Ram Mandavi, a series of teak panels that translate folklore and tribal deities into tactile reliefs, and Nagji Patel’s **Temple**, which balances sandstone and brass to echo the quiet sanctity of historic Indian shrines. Teja Gavankar’s kinetic **Neti‑Neti 2** invites interaction with terracotta bricks and a motor, probing philosophical notions of 'not this, not that.' Contemporary critiques surface in Jonathan Trayte’s **Babba Su**, painted bronze and stainless steel that mimic the glossy excess of food packaging, while Madhu Das’s **The Sound of Waves from the Deep Ocean** uses marine rope to evoke oceanic depths and the looming threat of deep‑sea mining.

The roster also features artists such as Divya Mehra, Satish Gujral, Vyom Mehta, Aditi Joshi, Sakshi Gupta, Sajid Wajid Sheikh, Pors and Rao, and Sumakshi Singh, each bringing distinct material vocabularies to the dialogue. Together, the installations encourage a fresh look at sculpture—not just as object, but as a living archive of culture, ecology and consumer habit.

[View original article](https://www.news18.com/agency-feeds/artists-to-explore-how-material-holds-memory-at-art-mumbais-sculpture-park-10384984.html)

Artists to explore how material holds memory at Art Mumbai's Sculpture Park

**Sculpture by the Sea** celebrates its 30th anniversary, turning the Bondi to Tamarama coastal walk into a sprawling open‑air gallery that draws half a million visitors each summer.

The show began in 1997 as a modest, volunteer‑run affair from founder **David Handley**’s lounge room, with a $100 bank balance, $11,500 in raised funds and a $400 marketing budget. That first season attracted 25,000 onlookers, a modest start that set the tone for a cultural institution.

Today the exhibition stretches along the cliffs of Bondi, spills onto Perth’s **Cottesloe Beach**, and showcases around 100 works by Australian and international artists. Highlights include **Emma Anna**’s luminous **DREAM_N**, **Lu Lu**’s soaring **Ascent**, and **Harrie Fasher**’s thought‑provoking **Unveiling the Edges**.

Financial pressures remain acute. In late 2025 the organization issued an urgent $200,000 appeal, raising $138,000 in a single day, while artists themselves underwrite roughly a quarter of the total cost. Safety concerns have also surfaced after a recent workplace injury, underscoring the challenges of mounting such a large‑scale outdoor event.

Among the more poignant pieces is **Stephanie Quirk**’s sky‑borne message of love, projected above Bondi each Saturday as a response to last year’s tragic massacre, reminding visitors that art can both commemorate and heal.

[View original article](https://www.canberratimes.com.au/story/9369568/sculpture-by-the-sea-officially-kicks-off-its-30th-year/)

Sculpture by the Sea officially kicks off its 30th year

Delhi is set to welcome seven new children’s theme parks over a three‑month stretch, a push under the AMRUT scheme that blends urban renewal with playful design.

Each park revolves around a distinct theme, from an insect‑inspired playground near PVR **Saket** to an octopus world in **Ajmal Khan Park**, a Garuda motif at **M Block Park** in **Greater Kailash‑II**, marine wonders at **Swasthya Vihar**, and a peacock showcase in **Mayur Vihar** Phase‑III. Additional sites include an octopus‑themed corner in Karol Bagh and other imaginative corners across the city.

The hallmark is “sculpture play” – large‑scale installations made from reinforced plastic and glass‑reinforced cement fibre that double as swings, slides, balance beams, spiral tunnels and even functional elements like seating and dustbins. Highlights include a spider rope climber, ant‑shaped slides, caterpillar balance beams and beehive spiral tunnels.

Officials say the insect and aeroplane zones will open first, with all seven parks fully operational by January, promising a new kind of interactive urban space that sparks curiosity and encourages active play.

[View original article](https://www.hindustantimes.com/india-news/from-insects-to-peacocks-seven-childrens-theme-parks-to-open-in-delhi-over-next-three-months-101792122648281.html)

From insects to peacocks: Seven children's theme parks to open in Delhi over next three months

**SZA** recently used her platform to counter a snide comment that dared anyone to purchase a piece from balloon‑animal artist **Adam Nassih**. When a follower threatened to match a purchase if anyone bought the work, the singer called the bluff and stepped in herself.

In an Instagram carousel posted on October 15, she showcased one of Nassih’s vivid, inflatable sculptures, initially eyeing the most expensive piece before opting for a smaller, still striking work. Her caption highlighted the absurdity of the challenge and tagged the original critic.

The episode underscores how a single act of patronage can flip a negative online exchange into a payday for an emerging creator, while reminding would‑be haters that being a hater gets expensive.

[View original article](https://www.billboard.com/music/rb-hip-hop/sza-buys-artist-nassih-balloon-sculpture-after-online-troll-1236361541/)

SZA Buys Artist's Sculpture After Online Troll's Criticism

**Kavinder Gupta**, the Governor of Himachal Pradesh, unveiled a bust of former President **Sarvepalli Radhakrishnan** at the **Indian Institute of Advanced Study** in Shimla, concluding the institute’s diamond‑jubilee celebrations.

He also opened a permanent exhibition titled **Kangra Kalam: The Pahari Miniature Art Gallery**, a space devoted to the delicate world of Kangra miniature paintings. The display foregrounds folk and rural scenes—village life, music, rituals and the intimate relationship between people and the Himalayan landscape.

Accompanying the launch, a new volume, *Folk and Rural Imagery in Kangra Miniatures: An Indigenous Indian Art Perspective*, offers scholarly insight into the tradition, reinforcing the gallery’s role as both a showcase and a research hub.

The initiative is presented as a bridge for tourists and scholars alike, inviting them to explore the shared cultural tapestry of Himachal, Jammu & Kashmir and Uttarakhand, and to experience a living legacy of Himalayan art.

[View original article](https://www.dailyexcelsior.com/himachal-guv-unveils-radhakrishnans-bust-inaugurates-kangra-miniature-art-gallery/)

Himachal Guv unveils Radhakrishnan's bust, inaugurates Kangra miniature art gallery

On October 16, **Governor Kavinder Gupta** opened a new permanent gallery at the **Indian Institute of Advanced Study** in Shimla, signalling a fresh commitment to the preservation of Kangra miniature painting.

The space, named **Kangra Kalam: The Pahari Miniature Art Gallery**, occupies Room 8 of the institute’s main building and shifts the focus from courtly and religious subjects to the everyday life of the Himalayan region—farm work, folk music, Gaddi community rituals, food preparation and local deity processions.

Alongside the inauguration, a bust of **Sarvepalli Radhakrishnan** was unveiled and the scholarly volume **Folk and Rural Imagery in Kangra Miniatures** was released, offering an academic perspective on the art’s rural and folk narratives.

The event formed part of the institute’s Diamond Jubilee celebrations, which also featured a five‑day miniature‑painting workshop held in June 2026 that revived natural pigments and the guru‑shishya tradition, as well as performances of music, dance and poetry, and an exhibition at the **Rabindranath Tagore Art Gallery**.

Gupta stressed that the gallery will help both Indian and international visitors grasp the deep connections between art, nature and daily life in the Himalayas, and called for continued support to keep these traditional practices alive.

[View original article](https://www.aninews.in/news/national/general-news/himachal-governor-kavinder-gupta-inaugurates-kangra-miniature-art-gallery-at-iias-shimla20261016030848/)

Himachal Governor Kavinder Gupta inaugurates Kangra miniature art gallery at IIAS Shimla

Sculpture by the Sea, now the world’s largest free outdoor sculpture festival, began in 1997 with a modest $100 budget and a handful of volunteers working from a living room. Three decades later the event has transformed the cliffs between Bondi and Tamarama into a sprawling gallery of contemporary sculpture.

The 30th‑anniversary show opens in Sydney with around one hundred works perched along the coastal walk, drawing an expected crowd of nearly half a million visitors. The exhibition will run through early November, and a parallel program will soon appear on Cottesloe Beach in Perth.

Despite its growth, the festival still wrestles with funding pressures and rising production costs. A last‑minute appeal in late 2025 raised $200,000, with NRMA Insurance stepping in as a principal sponsor to keep the show on track.

Among the highlighted pieces is **Kaaku‑Kaakulinya: Eternal Sentinels**, a collaborative work by Barkindji and Malyangapa artist **David Doyle**, who received a $20,000 grant to support Indigenous participation. Doyle’s presence underscores the event’s expanding commitment to cultural diversity.

The season promises a dynamic mix of large‑scale installations and intimate interventions, inviting both locals and tourists to experience art in the open air while the ocean rolls in the background.

[View original article](https://www.perthnow.com.au/entertainment/sculpture-by-the-sea-marks-30-years-of-outdoor-art-c-23027002)

Sculpture by the Sea marks 30 years of outdoor art

The Indian Institute of Advanced Study in Shimla has opened a dedicated gallery for Kangra miniature painting, titled **Kangra Kalam: The Pahari Miniature Art Gallery**. The inauguration, led by Governor Kavinder Gupta, coincided with the institute’s Diamond Jubilee, marking a significant cultural addition.

The exhibition moves beyond the traditional royal and devotional motifs that have long defined the genre. It brings to the fore scenes of agrarian labour, local festivals, Gaddi community life, folk music and everyday culinary practices, offering visitors a vivid glimpse into the lived world of the Himalayan foothills.

The gallery’s conception grew out of a recent five‑day workshop where master artists taught apprentices through the Guru–Shishya Parampara, using natural pigments and historic tools. The event underscored a commitment to preserving the tactile knowledge that underpins the art form.

Alongside the gallery, a bust of former President Sarvepalli Radhakrishnan was unveiled and a scholarly volume, *Folk and Rural Imagery in Kangra Miniatures*, was released, cementing the institute’s role as a bridge between scholarship, practice and public appreciation.

[View original article](https://timesofindia.indiatimes.com/city/chandigarh/from-royal-courts-to-village-courtyards-iias-gallery-brings-kangra-miniatures-to-life/articleshow/134975332.cms)

From royal courts to village courtyards, IIAS gallery brings Kangra miniatures to life

At a vibrant Dasara celebration in Uchila, the chief minister unveiled a plan to establish a dedicated **sculpture park** in Karkala, a move designed to protect the centuries‑old stone carving tradition that dots the town’s temples.

The park will serve as a living gallery for the region’s distinctive stone work, positioned alongside the coastal belt’s gold‑smithing, silver‑craft and wood‑carving practices, highlighting the artistic synergy that defines Karnataka’s shoreline culture.

Officials present the project as a dual engine of cultural preservation and job creation, linking it to a newly announced tourism policy that aims to transform temple circuits and coastal sites into a world‑class travel hub.

Beyond the economics, the initiative is framed as an homage to the spiritual and cultural fabric of the coast, where fishermen’s livelihoods, historic shrines and artisanal crafts intersect, promising a revitalized future for both heritage and community.

[View original article](https://timesofindia.indiatimes.com/city/mangaluru/dedicated-sculpture-park-in-karkala-on-cards-cm/articleshow/134973399.cms)

Dedicated sculpture park in Karkala on cards: CM

In October, the National Gallery of Modern Art in New Delhi opened **TAKSHANAM**, a sweeping survey of contemporary Indian sculpture. The show gathers more than 250 works by around 150 artists, spanning established veterans and emerging talents discovered through an open call.

The exhibition, inaugurated by Union Minister of Culture and Tourism **Gajendra Singh Shekhawat**, frames sculpture as a living practice rooted in a millennia‑old tradition. Drawing its name from the Sanskrit root *takṣ* – to carve or shape – the show invites visitors to trace continuities from ancient terracotta figures to the bold abstractions of today’s makers.

Curatorial structure splits the show into two sections. **Eminent Artists** presents works by senior figures whose careers have helped define Indian sculpture, while **Open Call Artists** showcases the fresh voices selected by a jury, creating a dialogue between legacy and innovation. Pieces from NGMA’s own collection are interwoven, further enriching the conversation.

A notable first for the institution is the decision to put selected sculptures on sale directly on the gallery floor, a move meant to bridge creators with collectors and sustain the material‑intensive medium. Organizers hope this commercial edge will encourage broader public engagement and support the artists’ practice.

With its ambitious scale and inclusive ethos, **TAKSHANAM** positions the NGMA as a hub for sculptural exchange, celebrating India’s rich heritage while spotlighting the dynamic possibilities of contemporary form. The exhibition runs until 15 November 2026.

[View original article](https://www.aninews.in/news/national/general-news/union-minister-gajendra-shekhawat-inaugurates-8216takshanam8217-exhibition-bringing-together-150-artists-and-over-250-sculptures-at-ngma20261015223039/)

Union Minister Gajendra Shekhawat inaugurates ‘TAKSHANAM’ exhibition, bringing together 150 artists and over 250 Sculptures at NGMA

Scott Eubanks, a former Air Force serviceman turned certified **Bob Ross** instructor, now brings the soothing world of oil landscape painting to Yorktown. After discovering Ross’s studio in Florida, he endured a rocky start—struggling with brushes and mountains—but persistence turned his frustration into mastery, earning him three levels of certification.

Based out of **On the Hill Art Gallery**, Eubanks runs regular classes, private sessions, and demos at **Yorktown Market Days**, inviting newcomers of any age to pick up a palette. He emphasizes the “happy accidents” philosophy, encouraging students to view mistakes as part of the creative process.

Beyond the classroom, Eubanks paints his own nature scenes from a garage studio and the beach, while his wife Laura handles promotion. With plans to study sculpture at VCU and eventually open a dedicated studio, he aims to expand the community’s access to the joyful, therapeutic practice that first drew him to art.

[View original article](https://www.pilotonline.com/2026/10/15/bob-ross-art-instructor-yorktown/)

Bob Ross art instructor teaches others in Yorktown

The **Herbert Art Gallery & Museum** in Coventry is hosting **Sikh Stories in Colour**, an interactive exhibition that brings Sikh history and identity to life for children and families.

Created by the local collective **IM1313**, founded by **Pritpal Singh Rai**, the show uses characters, illustrations, music, film and animation to turn heritage into a language children already love. The narratives celebrate universal values—courage, kindness, equality and self‑discovery—so visitors of any background can see themselves in the stories.

Since its launch, the project has amassed around 20 million views online, appeared on national television and partnered with illustrator **Ben Barter**. The exhibition runs from 13 – 25 October 2026 and welcomes schools, families and all curious visitors.

[View original article](https://www.coventrytelegraph.net/whats-on/family-kids-news/special-coventry-exhibition-teaching-kids-34768336)

The special Coventry exhibition teaching kids about courage, kindness and understanding who you are

The annual **15 Artists** prize at **Redcliffe Art Gallery** brings together Queensland’s most promising early‑ to mid‑career creators. Curator Hannah Williamson notes that this year’s cohort wrestles with technology, AI and questions of identity, offering a vivid snapshot of contemporary practice in the state.

Savannah Jarvis’s diptych, **Two patients try to explain nociplastic pain to one another**, forms part of her Conversations between Patients series. The work invites prolonged contemplation, its layered textures and embedded text turning an invisible, subjective experience of chronic pain into a visual feast.

Sally Molloy’s monumental canvas, **Feral Fantasy (Unravelling on the Interstitial Plain)**, confronts the uneasy ties between Australian landscape painting, colonial history and climate upheaval. Its sheer scale and tangled motifs force the viewer to navigate multiple narratives that hover over the land.

In **Garden Room**, John A Robinson constructs a seemingly tranquil space made of twenty‑five individual boards that mimic a pixelated screen. The oil painting’s delicate surface masks subtle disruptions, suggesting that peace in a chaotic world is always provisional.

Adrian Charles Smith’s **The Banig and Par Four (Sakla), after The Card Players** draws on Cézanne’s quiet figure studies while referencing a Filipino card game played at wakes. The abstract surface gradually reveals human silhouettes, a meditation on chance and the forces that shape our lives.

Karen Stephens’s series **Looking for the pink opal** channels her family’s opal‑mining heritage in western Queensland. Her instinctive “picture mirrors” capture the elusive sparkle of opal in sweeping colour fields, turning remote landscapes into sites of hidden discovery.

[View original article](https://www.abc.net.au/news/2026-10-15/five-works-to-see-redcliffe-gallery-fifteen-artists/107252804)

Five artworks to see at 15 Artists exhibition at Redcliffe Art Gallery

Plans for a $55 million, 19‑storey mixed‑use complex have been unveiled on a formerly under‑utilised corner of Hay Street in West Perth. The scheme will replace a modest office block with two towers offering 223 fully‑furnished co‑living units, a four‑storey podium and a 97 sqm art gallery that faces the street.

Designed by **Cameron Chisholm Nicol** with engineering by SLR Consulting, the development stacks private studio‑type apartments atop shared kitchens, lounges, co‑working spaces, a gym, sauna and rooftop terraces. The gallery and events space are positioned to activate the streetscape, inviting both residents and passers‑by into a rotating programme of exhibitions.

The co‑living model targets a diverse cohort – from young professionals and recent graduates to essential workers and international arrivals – offering leases of up to three years and the option to tailor terms. Communal amenities are framed as a modern response to shifting urban lifestyles, encouraging social connection while maintaining the privacy of private kitchenettes and bathrooms.

Situated just a kilometre from the CBD and a short walk from City West station, the project promises improved pedestrian safety by rerouting vehicle access and includes electric‑vehicle car‑share bays and bicycle parking. Proximity to the heritage‑listed **Ross Memorial Church** is retained, with the impact assessment deeming the development’s effect on the historic site negligible.

[View original article](https://www.perthnow.com.au/news/business/property/plans-revealed-for-55m-two-tower-co-living-development-at-underutilised-hay-street-site-c-22993476)

Plans revealed for $55m two-tower co-living development at ‘underutilised’ Hay Street site

A 34‑foot La Catrina has taken its place in Fruitvale Village, becoming the tallest version of the iconic skull‑faced figure in the United States. Crafted by a team of artists from Mexico City and assembled by **Romain Greco** of the collective **Artsumex**, the sculpture arrived by truck and now towers over the neighborhood.

The work was commissioned by the **Unity Council** and will serve as the focal point of the **Fruitvale Día de Muertos Festival** on Nov. 1. The celebration, which routinely attracts up to 100,000 visitors, blends live music, Latin American art and elaborate altars.

Beyond its size, the figure embodies the holiday’s themes of remembrance and community. With outstretched arms, the La Catrina is presented as a welcoming gesture to migrants and a visual reminder of inclusion, care, and cultural pride in the Fruitvale community.

[View original article](https://www.mercurynews.com/2026/10/14/time-is-ticking-to-visit-the-massive-la-catrina-sculpture-in-fruitvale-oakland/)

La Catrina sculpture keeps watch over Oakland

Objectifs Short Film Festival 2026 bursts onto Singapore’s film calendar with the provocative tagline *Normal Is An Illusion*. The programme balances reverence and risk‑taking: a Sunday afternoon screening of **Image & Memory: Early Works of Kore‑eda Hirokazu** offers rare glimpses of the Japanese master, while the opening night **Hypnotic Bursts** showcases the digital‑art‑infused shorts of French duo Caroline Poggi and Jonathan Vinel. A second weekend spotlights emerging Japanese animators in **NeW Wave**, followed by a late‑night retrospective of Malaysian‑American filmmaker Azian Nurudin. The festival also presents **Wicked Times: The Compiled Tapes**, a 12‑film chronicle of San Francisco’s queer history, and nurtures fresh voices through **FreshTake!** student screenings and a regional script lab. It closes with a film‑themed **Saturdate** programme of flea‑market stalls, open studios with resident artists Alia Alkaff, Jun!yi Min and Lizzie Wee, and hands‑on workshops.

Across the city, the exhibition **Worlds In Motion** at the **Ngee Ann Kongsi Galleries** (NAFA campus) invites visitors to experience Southeast Asian art through sight, sound, touch and even taste. Malaysian artist Ivan Lam’s **Blind Side** series, created with the Malaysian Association for the Blind, renders colour in resin‑coated canvases embossed with Braille and scented cues, prompting a dialogue about perception. Thai creator Atithep Chaetnalao contributes **Ethnics Cultural Art Toys**, a playful set of eight figurines that reinterpret traditions such as the Hungry Ghost Festival through a pop‑collectible aesthetic. The show foregrounds emerging practices that treat art as a shared, sensory encounter.

Meanwhile, **Life On Land’s Edge – A Cinematic Concert Celebrating Birds** marks the Asian debut of **The Bowerbird Collective**. Violist‑vocalist Simone Slattery and cellist Anthony Albrecht pair footage of migratory birds with an immersive soundscape that weaves together Philip Glass, Vivaldi, Dai Fujikura and new commissions from BirdLife Australia. The 60‑minute performance, which earned a 2022 Independent Arts Foundation Award for Innovation, is followed by a brief audience Q&A. The collective’s ARIA‑nominated album *Songs Of Disappearance*—a conservation project featuring endangered bird calls—underscores the concert’s ecological urgency.

Together these programmes illustrate Singapore’s thriving interdisciplinary arts scene, where film, visual art and music converge to question norms, engage the senses, and confront pressing environmental issues.

[View original article](https://www.straitstimes.com/life/arts/singapore-arts-guide-oct-15-to-dec-6-objectifs-organises-first-short-film-festival)

Singapore arts guide: short film festival and more

**DMZ Open Exhibition: Staging** opens in the former U.S. Camp Greaves and at Imjingak Pyeonghwa Nuri in Paju, turning a once‑military site into a field of artistic inquiry. Curated by Kim Sun‑jung of Art Sonje Center, the show gathers 26 works by 14 Korean and international artists to probe how division shapes relationships among people, objects, and the landscape itself.

Ahn Kyu‑chul’s installation **Nine Chairs** arranges a broken circle of chairs, each rendered unusable, as a metaphor for the liminal state of the Demilitarized Zone. By dismantling eight intact chairs and recombining the fragments into a ninth, he visualises the shared incompleteness felt on both sides of the border.

Veteran artist **Park Chan‑kyong** revisits Cold‑War memory in **Black Box: Memory of the Cold War Images**, a photo‑based work that overlays Hollywood spy imagery with scenes from former U.S. bases, reminding viewers how geopolitical anxiety seeped into everyday life.

In a repurposed restroom, **Yeon Jin‑yeong** juxtaposes military uniforms, latex and a bead‑adorned urinal, linking collective discipline with the contemporary ‘looksmaxxing’ culture. **Lee Ye‑eun** documents the everyday resilience of residents in Tongilchon through photographs of precarious towers of plastic containers in her series **People of Baegyeon‑ri**. Meanwhile, North Korean defector **Sun Mu** paints a hopeful tableau in **Spring Outing**, borrowing North Korean propaganda aesthetics to imagine young people from both Koreas sharing a riverside picnic.

The curatorial framework of **Staging**, drawn from Bruno Latour’s philosophy, treats the DMZ not as a static symbol of conflict but as a stage where histories, ecosystems and human lives intersect. The exhibition invites visitors to see the border as a dynamic space of potential coexistence, lingering until late November.

[View original article](https://www.koreatimes.co.kr/lifestyle/arts-theater/20261014/dmz-art-show-reframes-koreas-divided-landscape)