**Miranda Gallagher-Wickett**, a Sault‑born multidisciplinary artist, has seen her six‑foot‑scale bra sculpture **Suspending Support: The Hidden Architecture of the Bra** placed among the Top 100 works in the international **Art Comp 2026** exhibition in London, Ontario.

The suspended piece magnifies the hidden engineering of an everyday garment—cups, seams, straps and underwire—forcing viewers to confront the structural logic that normally remains invisible. By scaling the object to human height, the work transforms a private object into a public inquiry about what “support” really means for bodies.

Gallagher‑Wickett’s practice weaves sculpture, body casting, education and prosthetic work, all anchored in a commitment to breast‑health advocacy. Recent projects in her hometown have raised funds for mammography equipment and highlighted the challenges of health care access in northern Ontario.

The competition includes a People’s Choice vote, with a $50,000 prize that could fund larger interdisciplinary projects. Gallagher‑Wickett is urging residents of Sault Ste. Marie to cast their votes, seeing the campaign as a way to bridge her two homes and keep the conversation about women's health alive in both artistic and community spaces.

[View original article](https://www.sootoday.com/local-news/sault-born-artists-giant-bra-sculpture-in-top-100-of-competition-12731423)

Sault-born artist’s giant bra sculpture in top 100 of competition

**Mohammed Ayazuddin Patel**, a photographer and visual artist from Kalaburagi, has been invited to take part in the International Collaborative Art Exhibition and Sculpture Workshop in Venice, scheduled for September 17‑20. The three‑day event, titled **Art Beyond Borders: Creative Dialogue Between India and Italy**, will be hosted at **HU Venezia Camping** under the joint aegis of the SMD Foundation and HU Venezia.

The workshop gathers eleven artists from across India—including Karnataka, Assam, Kolkata, Mumbai, Delhi, Madhya Pradesh and Baroda—alongside a cohort of European creators. It aims to deepen ties between Indian and European art communities through dialogue, collaborative sessions and a series of discussions that explore diverse artistic perspectives.

In addition to the workshop, Patel will join a 15‑day study tour that spans France, Germany, the Netherlands, Belgium, Switzerland, Italy and Vatican City. Highlights of the itinerary include visits to the **Louvre Museum** in Paris, the **Van Gogh Museum** in Amsterdam, the **Sistine Chapel** in Vatican City, the **Accademia Gallery** in Florence and the **Colosseum** in Rome, offering a rich immersion in the works of masters such as Leonardo da Vinci, Michelangelo, Van Gogh, Rembrandt and Picasso.

Patel’s résumé is distinguished by a National Lalit Kala Award (2014), a CCRT National Fellowship (2016‑17) and a senior fellowship from the Karnataka Lalit Kala Academy (2018). He has also founded an art gallery, museum and research centre, and his extensive travel record includes visits to the United States, the United Kingdom, Russia, Turkey, China, Kenya, Hong Kong, Macau, Egypt, Jordan, Uzbekistan, Kazakhstan, Sri Lanka, Bangladesh and Bhutan.

[View original article](https://timesofindia.indiatimes.com/city/hubballi/kalaburagi-artist-invited-to-art-workshop-in-venice/articleshow/133846395.cms)

Kalaburagi artist invited to art workshop in Venice

An eagerly awaited cultural hub has finally taken shape in Jalgaon with the launch of **R. K. Laxman Art Gallery**. A joint effort by **Kanha Lalit Kala Kendra** and **Ojaswini College of Arts**, the gallery occupies space within **Mulji Jetha College** and promises a fresh platform for local artists, students, and seasoned creators alike.

The inauguration on September 5 was led by MLA Suresh Bhole, and the ceremony welcomed a roster of distinguished guests, including Sahitya Akademi award‑winner and painter **Raju Baviskar**, Prof Mrunalini Fadnavis, and senior officials of the founding institutions. Their presence underscored the community’s long‑standing desire for a dedicated art venue.

Coinciding with the opening, the **Shri Ganesh** painting exhibition showcases a range of contemporary interpretations of the beloved deity. Open daily from 11 am to 5 pm until September 14, the show has already drawn enthusiastic responses from art lovers across the city.

Beyond the exhibition, the gallery is positioned to become a vibrant meeting point for emerging talent and established practitioners, offering exhibition space, dialogue, and inspiration. Organisers hope it will nurture creativity and cement Jalgaon’s place on the regional cultural map.

[View original article](https://www.freepressjournal.in/pune/jalgaon-r-k-laxman-art-gallery-inaugurated-shri-ganesh-exhibition-opens-for-art-lovers)

Jalgaon: R. K. Laxman Art Gallery Inaugurated, ‘Shri Ganesh’ Exhibition Opens For Art Lovers

Gallery Sumukha marks its 30th anniversary with **In Search Of The Perfect Image**, a solo show by sculptor G Ravinder Reddy. The exhibition presents five new works – a striking portrait of Parvati and four wall‑mounted reliefs – that probe ideas of beauty, identity and the human form.

At the **KNMA** in Delhi, the twin shows **In‑Rhythm** and **Inheritors of Earth** invite visitors to slow down and look anew. **In‑Rhythm** juxtaposes the geometric abstraction of Bice Lazzari with the lyrical lines of Nasreen Mohamedi, while **Inheritors of Earth** treats plants as active participants rather than mere backdrop.

Music lovers can catch **Ragas to Reels** at the **Nita Mukesh Ambani Cultural Centre** in Mumbai, where pianist‑composer Utsav Lal weaves Hindustani ragas together with Irish reels and jigs, creating a vibrant cross‑cultural conversation.

The **Incidents at Pawgur** docu‑fiction at the Bangalore International Centre blurs fact and fiction, following two researchers and a local explorer as they investigate mysterious lights over Pavagada, mixing colonial archives, prehistoric landscapes and speculative intrigue.

Finally, **Altaf Raja Live** at Phoenix Marketcity in Pune offers a nostalgic trip back to the 1990s, with the singer’s iconic Urdu shayari and cassette‑era melodies reviving the era’s heartfelt anthems.

[View original article](https://www.financialexpress.com/life/lifestyle/cultural-calendar-art-shows-music-concerts-amp-docu-fiction/4332769/)

Cultural calendar: Art shows, music concerts & docu-fiction

**Mohammed Ayazuddin Patel** will join a three‑day **International Collaborative Art Performance & Sculpture Workshop** in Venice from September 17‑20. The event, titled *Art Beyond Borders: A Creative Dialogue Between India and Italy*, brings together a dozen Indian artists from across the subcontinent with leading European creators, aiming to turn studio practice into a conduit for cultural exchange.

The program sits within a wider fifteen‑day European study tour that threads through France, Germany, the Netherlands, Belgium, Switzerland and Italy, with stops at iconic sites such as the Louvre, the Van Gogh Museum, the Sistine Chapel, the Accademia Gallery and the Colosseum. These visits promise a direct encounter with the masterpieces of Leonardo, Michelangelo, Van Gogh, Rembrandt and Picasso, feeding the participants’ own artistic vocabularies.

Patel, a Kalaburagi‑based photographer and visual artist, carries a résumé that includes the National Lalit Kala Award, a CCRT National Fellowship from the Ministry of Culture and a senior fellowship from the Karnataka Lalit Kala Academy. His own gallery, museum and research centre underscore a commitment to preserving and reinterpreting Deccan heritage.

By moving from the Deccan plateau to the canals of Venice, Patel embodies a living dialogue between two rich artistic histories, inviting audiences in both regions to see familiar narratives refracted through new, collaborative lenses.

[View original article](https://www.thehindu.com/news/national/karnataka/artist-mohammed-ayazuddin-patel-to-attend-cultural-exchange-workshop-in-italy/article71432529.ece)

Artist Mohammed Ayazuddin Patel to attend cultural exchange, workshop in Italy

Simon Evans, a former Coventry University art student, is best known for the **Bucephalus** horse sculpture that anchors **Greyfriars Green**. The piece has become a beloved fixture of the city’s landscape.

After graduating, Evans joined the **Lancashire police** and in 1991 was called upon to draw a suspect sketch for a brutal assault on an elderly woman. He spent hours with the traumatised victim, translating her recollection into a precise likeness.

The resulting portrait was instantly recognised by Detective John Wright, who identified the perpetrator, **Brian Robin Dalby**, when he appeared in custody. The sketch was repeatedly shown to the jury and proved decisive at a time when DNA testing was still emerging.

Dalby, a long‑time predator, received a substantial prison term, removing a dangerous figure from the community. Evans’ dual legacy endures: the enduring public artwork in Coventry and the quiet, life‑saving impact of his artistic eye on criminal investigations.

[View original article](https://www.coventrytelegraph.net/news/coventry-news/coventry-monument-artist-simon-evans-34561569)

Coventry monument artist Simon Evans whose police sketch helped convict rapist

After more than a decade and a billion‑dollar investment, the Lucas Museum of Narrative Art finally opened its doors in Los Angeles. Nestled in Exposition Park, the white, cloud‑inspired structure by MAD Architects resembles a hovering vessel, inviting visitors to step into a space where storytelling in all its forms is celebrated.\n\nThe museum houses over 1,300 objects from George Lucas’s private collection, ranging from original Star Wars concept sketches and a bronze Leia‑Jabba sculpture to works by Frida Kahlo, Norman Rockwell, and Gordon Parks. Comic‑book pages, anime stills, and even a recreation of the Sistine Chapel sit alongside Impressionist paintings, underscoring the institution’s claim that narrative art transcends traditional hierarchies.\n\nInside, the curvilinear galleries flow without hard walls, allowing themes such as adventure, romance, and civic life to intersect. Two theaters screen silent films, Lucas’s student projects, and episodes of *Cowboy Bebop*, while a top‑floor space showcases original Banksy murals, adding a surprise contemporary edge.\n\nThe museum’s ambitious curatorial vision has already faced turbulence—leadership changes and staff reductions have raised questions about long‑term stewardship. Yet Lucas and Hobson remain hands‑on, with Lucas describing the project as a “temple to the peoples’ art” and emphasizing the unifying power of shared myths.\n\nWith rotating exhibitions planned for fragile works on paper and the possibility of new commissions, the Lucas Museum aims to keep its narrative tapestry ever‑evolving, offering both fans of sci‑fi epics and lovers of classic fine art a reason to linger.

[View original article](https://abc17news.com/entertainment/cnn-style/2026/09/05/three-cities-16-years-and-1-billion-later-the-lucas-museum-of-narrative-art-opens/)

Three cities, 16 years and $1 billion later, the Lucas Museum of Narrative Art opens

Under a 536‑year‑old carved Spanish ceiling in east London, three monumental tapestries hang in the new **V&A East Storehouse**. Created by architect‑artist **Shahed Saleem**, the work titled **I Was Born Here** weaves together historic and contemporary images that trace Muslim presence in Britain and Europe.

One panel reproduces verbatim Home Office “hostile environment” notices from 2013, set against Alhambra‑style geometric patterns. Another honors Altab Ali, the Bangladeshi shopkeeper murdered in 1978, while a third celebrates the bustling life of Newham’s Queen’s Market. A further scene references the Santa Maria voyage, linking early Spanish colonisation to the later displacement of Muslim and Jewish communities.

The tapestries deliberately juxtapose Europe’s long‑standing fascination with Islamic art against the rise of xenophobic politics, from the Reform UK surge to recent far‑right protests. By recalling the Spanish Inquisition and modern anti‑immigrant legislation, the installation frames current Islamophobia as part of a centuries‑old pattern of exclusion.

Visitors report that the sheer scale and vivid colour invite personal reflection. Young Londoners see the title as a defensive claim of belonging, while older members of the community feel it validates their histories. Saleem envisions the work as a future artefact, a marker of a moment when Britain’s Muslim narratives were both celebrated and contested.

[View original article](https://www.aljazeera.com/news/2026/9/5/i-was-born-here-london-exhibition)

UK art show explores Muslim life, Europe’s Islamic history and Islamophobia

**Bart De Wever**, Belgium’s prime minister, commissioned a replica of the iconic **India Gate** crafted entirely from fine Belgian chocolate as a diplomatic gift for **Narendra Modi** during his visit to New Delhi.

The delicate sculpture shattered during transit, a fact the Belgian Embassy highlighted in a social‑media post, noting the irony that chocolate works well for diplomacy but not for travel.

De Wever explained that the monument was chosen for its shared wartime history – the inscription honoring Indian soldiers who fell in Flanders Fields – and pledged to send a replacement from Belgium.

The episode underscores the playful side of statecraft while reaffirming the long‑standing ties between the two nations.

[View original article](https://economictimes.indiatimes.com/news/india/chocolate-excellent-for-diplomacy-belgian-embassy-shares-photo-of-chocolate-india-gate-gift-for-pm-modi-that-melted-during-journey/articleshow/133788717.cms)

'Chocolate excellent for diplomacy’: Belgian Embassy shares photo of chocolate India Gate gift for PM Modi that melted during journey

Veteran New Zealand actor **Ian Mune** is stepping away from the footlights and into the gallery for his first solo art exhibition.

After a career that began in the 1960s with Downstage and included knighthood in 2024, Mune turned to painting full‑time following the death of his wife Josie in 2017. The loss prompted him to abandon film projects and fill his Kumeū cottage with canvases, sketches and even stacks of life‑drawings.

The show, titled **Road+**, opens next Friday at **Studio One Toi Tū** in Ponsonby. Curated by fellow Auckland artist **Jane McGill**, the exhibition is divided into four sections – Dream World, Beauty or the Beast, Tributes to the Garden Warrior, and WTF – each exploring imagined places, portraiture, a homage to his late wife, and works that resist definition.

Mune’s practice is shaped by his colour‑blindness; he relies on a personal labelling system to distinguish greens, browns and reds, often starting from photographs before letting the canvas ‘talk back.’ Recent pieces focus on New Zealand landscapes, a shift he made after a research trip abroad revealed his preference for home‑grown scenery.

Now a great‑grandfather who paints with a local portrait group on Fridays, Mune treats the exhibition as another opening night, admitting the nerves but also the excitement of sharing a lifelong passion that finally takes centre stage.

[View original article](https://www.nzherald.co.nz/entertainment/actor-ian-mune-returns-to-the-spotlight-with-new-solo-show/premium/UBECKKETFRC2ZFWRPMT2NA75TI/)

Actor Ian Mune returns to the spotlight with solo art exhibition

Belgian Prime Minister **Bart De Wever** arrived in New Delhi with a sweet diplomatic overture – a life‑size replica of the iconic **India Gate** crafted entirely from premium **Belgian chocolate**. The confection was intended as a symbolic bridge between the two nations, highlighting their shared wartime history and future partnership.

During the joint press conference with **Narendra Modi**, De Wever revealed that the chocolate monument did not survive the journey, cracking before it could be presented. The fragile gift stood in stark contrast to the real India Gate’s century‑old endurance, turning a well‑intentioned gesture into a moment of light‑hearted diplomatic mishap.

The sculpture was more than a tasty novelty; it featured an enlarged excerpt of the inscription honoring Indian soldiers who fell in Flanders Fields during the First World War. By spotlighting this forgotten chapter of shared sacrifice, the gift sought to remind both sides that peace is hard‑won and must be cherished.

Undeterred, De Wever promised a back‑up version to be delivered in one piece, underscoring the belief that even a broken chocolate model can spark conversation. The episode illustrates how culinary artistry and historical memory can intersect on the diplomatic stage, turning a simple confection into a memorable cultural statement.

[View original article](https://www.livemint.com/news/trends/belgian-pm-planned-chocolate-india-gate-for-pm-modi-reveals-why-the-gift-never-made-it-we-have-a-backup-11788579531363.html)

Belgian PM planned chocolate India Gate for PM Modi, reveals why the gift never made it: ‘We have a back-up’

Grand Rapids has opened a competitive request for artists to conceive a memorial that honors the lives touched by gun violence. The city hopes the piece will become a public reminder of loss while offering a sacred space for reflection and dialogue.

The brief calls for a three‑dimensional or mixed‑media sculpture that can work indoors and outdoors, is durable, and can be delivered and installed by no more than two people. Artists must also provide a pedestal, storage container and clear installation instructions.

A selection panel composed of survivors, family members, members of the SAFE Task Force and Grand Rapids police representatives will review proposals. The budget is capped at $20,000 and must cover materials, labor and related activities.

Proposals are due Sept. 21, with a community webinar scheduled for Sept. 11 and installation work expected to begin Oct. 8. **Brandon Davis**, managing director of the Office of Public Accountability and Office of Equity and Engagement, emphasized the project’s role in healing, while **Latesha Lipscomb**, the city’s civilian violence‑prevention manager, highlighted its importance for long‑term community recovery.

[View original article](https://www.mlive.com/news/grand-rapids/2026/09/grand-rapids-seeks-artists-to-create-memorial-honoring-victims-of-gun-violence.html)

Grand Rapids seeks artists to create memorial honoring victims of gun violence

The **Gwangju Biennale**, one of Asia’s most prominent contemporary art festivals, has been thrust into a diplomatic controversy as a cohort of Chinese artists announced a withdrawal in protest of the naming of a Taiwanese exhibition.

The crux of the dispute lies in the label '**Taiwan Pavilion**.' Chinese officials and the withdrawing artists argue that the designation conflicts with the 'one China' principle, while Taiwanese curators maintain that the name reflects the identity of the National Taiwan Museum of Fine Arts, the institution behind the show.

The boycott underscores how state sensitivities can spill into the art world. While the Chinese works remain on site awaiting removal, the Biennale issued an apology for the 'confusion' and emphasized its commitment to artistic exchange.

The episode illustrates the delicate balancing act faced by South Korean organizers, who must navigate artistic freedom, national pride, and diplomatic pressures in a region where cultural events are increasingly politicized.

[View original article](https://www.manilatimes.net/2026/09/04/world/asia-oceania/china-is-boycotting-a-major-asian-art-festival-over-the-naming-of-a-taiwanese-exhibition/2418802)

China is boycotting a major Asian art festival over the naming of a Taiwanese exhibition

Boulder County comes alive every first Friday of the month, as downtown streets, historic neighborhoods and the NoBo district transform into open‑air galleries and maker markets.  From early evening music to late‑night studio tours, the city‑wide celebration offers a free, family‑friendly way to meet the region’s most inventive artists and creators.

In north Boulder, the **NoBo Art District First Friday Art Walk** stretches along Broadway from 6 p.m. to 9 p.m., featuring rotating shows at the **NoBo Art Center** and **Bus Stop Gallery**.  This week the street‑artist known as SMiLE debuts a new solo show, *The Other Side*, inviting visitors into a world of mystery and imagination.  Downtown Boulder’s walk, anchored at **The New Local**, kicks off at 4 p.m. with gallery receptions, maker demos, live sets from the Roots Music Project, and quirky pop‑ups like 5‑minute doodle portraits by Emma Friday.

Longmont’s **First Friday Makers Market** takes over 4th Avenue from 4:30 p.m. to 8:30 p.m., where artisans sell handmade jewelry, fine art and crafts amid live music, food trucks and a western‑themed “Boots & Brews” dress code.  The market’s dog‑friendly atmosphere and street games make it a lively gathering spot for the whole community.

Beyond the walks, a slate of gallery exhibitions adds depth to the month’s offerings.  **Boulder Museum of Contemporary Art** presents *Tres Voces, Un Corazón*, a family‑focused trio of works, while its **BMoCA at Frasier** space showcases *Uncanny Ecologies* by Kevin Oehler.  The **Canyon Theater and Gallery** runs *Bright Eyes, Dark Skies*, watercolor visions of Colorado’s dark‑sky preserves, and **Bus Stop Gallery** hosts SMiLE’s show.  Smaller venues such as **Kin Studio**, **The Crowd Collective**, and **Messenger Gallery** also feature solo shows and thematic group projects, ensuring that every art lover can find a corner of Boulder County to explore this First Friday.

[View original article](https://www.dailycamera.com/2026/09/04/boulder-county-galleris-art-guide/)

First Friday in Boulder County, art gallery events and exhibits

The steel horse that dominates **Greyfriars Green** has become a familiar landmark for anyone passing through Coventry, its towering silhouette a daily reminder of the city’s love for public art.

Created in the mid‑1980s by a young student, **Simon Evans**, the work—officially titled **Bucephalus** but affectionately known as **Trigger**—won a council competition while he was studying at **Coverty University**. Made from scrap steel and welded with a raw, kinetic energy, the 12‑foot figure was installed near the railway station and quickly earned a nickname from locals.

After graduating with honours in 1988, Evans chose an unexpected path, joining **Lancashire Constabulary**. There his artistic eye proved vital: he produced detailed suspect sketches, sitting with victims and witnesses to translate memory into portrait, a skill that helped secure convictions.

Colleagues recall him as a private, talented man with a dry sense of humour. Despite his modest demeanor, his contributions behind the badge were described as "cracking stuff," underscoring how his creativity served the community in more than one arena.

Tragically, Evans succumbed to pneumonia at the age of 46 in 2010. Yet the horse he forged continues to gallop through the city’s collective memory, a testament to an artist whose work and quiet heroism still resonate with residents and visitors alike.

[View original article](https://www.coventrytelegraph.net/news/coventry-news/tragic-story-artist-simon-evans-34561292)

The tragic story of artist Simon Evans behind Coventry's Trigger sculpture

**Between Block and Void** opens in Gurugram, inviting audiences to reconsider the role of clay in modern living. The show draws on the Japanese **kurinuki** method, a subtractive carving of solid blocks that transforms raw material into sculptural vessels.

Beyond a conventional display, the exhibition positions handmade objects within contemporary interiors, challenging the split between utility and fine art. Each piece is presented as an object that can both inhabit and shape the spaces we occupy.

The project is rooted in the community‑building ethos of **Shambhala**, which seeks to connect makers with viewers beyond a marketplace. Partnering with **Incept Studio**, the effort also highlights emerging artists, aligning with the studio’s commitment to nurture first‑time exhibitors.

Overall, the show encourages visitors to engage with the tactile process of ceramics, emphasizing material, craftsmanship, and the everyday narratives that these works carry.

[View original article](https://www.hindustantimes.com/lifestyle/art-culture/from-clay-to-contemporary-living-between-block-and-void-reimagines-ceramic-art-in-gurugram-101788511300563.html)

From clay to contemporary living: ‘Between Block and Void’ reimagines ceramic art in Gurugram

**Flower Show** at **Neighbour Gallery** in Kesavadasapuram transforms the gallery into a garden of 32 artists, each using blossoms to navigate love, loss, prejudice and memory. The show treats flowers not merely as decoration but as a language that cuts across class, caste and gender, inviting viewers to linger in the scent of transience and renewal.

The founders—**Joe Paul Cyriac**, **Valentina Abenavoli** and **Anand Rajan**—were sparked by **Rishma Mariya**’s *Portrait of a Landscape*, a canvas that imagined a sanctuary of coexistence. Their research into ecology and intersectionality shaped the exhibition into a living ecosystem where no work stands alone.

Highlights include **Kritika Sriram**’s photo series *Home*, which dialogues with **Aswathy GS**’s oil painting of a multi‑generational wedding scene, and **Mrudula Bhavani**’s embroidered pillow *The plant/that is/cut off from/the flower*, a testimony of surviving domestic violence. **Devi Seetharam** confronts patriarchal masculinity, while **Osheen Siva**’s *Valarchchi* interrogates the invasive water‑hyacinth and its burden on Dalit labourers. A tactile thread in **Sanath Sugathan**’s *In Times of Absence* captures the fleeting fragrance of jasmine, and **Unnikrishnan C**’s wooden pookkalam *I Remember the Day* evokes rural rain‑calling rituals.

Beyond the walls, **Meera KM**’s garden *I’m No Longer* plants community‑sourced blooms, challenging the human‑centric rigidity of architecture. Together, the works weave a garden of resistance and remembrance, reminding that flowers can be both fragile symbols and sturdy agents of social critique.

[View original article](https://www.thehindu.com/entertainment/art/at-flower-show-art-exhibition-in-thiruvananthapuram-neighbour-gallery-thiruvananthapuram/article71418119.ece)

At Flower Show art exhibition in Thiruvananthapuram flowers are more than just an ornament

It began when a Milwaukee landlord was clearing a vacant apartment and noticed a dusty print hanging in an odd spot on the wall. The image turned out to be a signed **Picasso** etching titled **Torero**, a work that belongs to a handful of thirty known impressions.

An antique‑dealer friend immediately identified the piece as the one reported stolen in 2018, and the landlord handed it to police.

The print was soon claimed by Bill DeLind of **DeLind Fine Art Appraisals**, who had been following the case for years. A sticker from his firm was still attached to the frame, and DeLind said the moment he learned the etching had resurfaced was overwhelming, recalling his late business partner’s yearly pleas to keep searching.

DeLind estimates the artwork’s market value at roughly $50,000, and the recovery holds special emotional resonance as a tribute to his departed colleague.

Milwaukee police praised the landlord’s honesty, noting that the community’s willingness to do the right thing makes the city 'better together'.

[View original article](https://www.nzherald.co.nz/world/milwaukee-landlord-finds-stolen-picasso-torero-print-in-vacated-apartment/WNRJ6YIMUJFTZFSD4YGHAOXSHM/)

Milwaukee landlord finds stolen Picasso Torero print in vacated apartment

On the sands of **Puri beach**, Padma Shri sand artist **Sudarsan Pattnaik** unveiled a towering sand portrait of **Bal Gopal** to mark Janmashtami 2026. The figure captures the mischievous child‑god in golden hues, with delicate detailing that draws the eye from afar.

The sculpture quickly became a focal point for pilgrims and tourists, who pause to photograph the fleeting masterpiece. Its placement amid the festive crowds adds a tactile dimension to the night of midnight prayers, echoing the joyous spirit of the holiday.

Pattnaik, renowned for turning coastal canvases into commentaries on social and environmental themes, once again demonstrates how temporary art can forge communal connections. The Bal Gopal piece not only celebrates a religious narrative but also reinforces Puri’s reputation as a living gallery of sand.

As the tide threatens its existence, the artwork underscores the ephemerality of both sand and celebration, reminding viewers that beauty can be both momentary and profound.

[View original article](https://www.freepressjournal.in/lifestyle/janmashtami-2026-bal-gopal-in-sand-sudarsan-pattnaiks-gokulashtami-creation-captivates-puri-visitors)

Janmashtami 2026: Bal Gopal In Sand! Sudarsan Pattnaik’s Gokulashtami Creation Captivates Puri Visitors

**Starbucks Cafe & Art Gallery Yanaka Gotenzaka** in the historic Yanaka district offers more than espresso—its sleek interior doubles as a rotating exhibition space, a rarity among the city’s countless coffee shops. The venue’s latest show is a partnership with **Tokyo University of the Arts**, Japan’s premier art academy, and showcases eight emerging painters from the university’s Oil Painting 6th Laboratory.

Titled **GABE6‒Drawing as Practice**, the exhibition frames drawing as a daily creative ritual. Visitors can wander among works that reveal each artist’s personal inquiry and experimental approach, all without an extra ticket price beyond a coffee purchase.

Running through October 12, the show coincides with the university’s annual Geidai campus festival, making a day‑trip to both the gallery and the campus a seamless cultural outing. Open from 8 a.m. to 9 p.m., the space invites regular coffee patrons to linger and discover new visual narratives in a familiar setting.

[View original article](https://soranews24.com/2026/09/04/japanese-starbucks-thats-also-an-art-gallery-hosts-exhibition-by-painters-from-tokyos-top-art-school/)

Japanese Starbucks that’s also an art gallery hosts exhibition by painters from Tokyo’s top art school

A vacant office tower at Madison Avenue and 39th Street has been turned into a sprawling art exhibition. The 23,000‑square‑foot, 14th‑floor space and the former street‑level retail area of **260 Madison** will host more than 50 artists from around the world, opening on September 24.

Co‑curated by **Dayana Matasheva**, **Edson Niebla Rodríguez** and **Shaina Tabak**, the show weaves sculpture, new media and video into the building’s own history, using remnants of its past as a backdrop for works that probe control, surveillance, artificial intelligence and the infrastructures that shape daily life.

The roster balances heavyweight names such as **Matt Mullican**, **Jon Kessler**, **Simon Denny**, **Josh Kline**, **Eva and Franco Mattes**, **Rachel Rossin**, **Liz Magic Laser**, **Leigh Ledare**, **David Humphrey** and **Michelle Segre** with a vibrant group of emerging voices, creating a dialogue between generations.

Running through November 22, 2026, the exhibition is free and open to the public, inviting visitors to wander the reimagined office floors and contemplate the systems that govern how we work, move and exist.

[View original article](https://patch.com/new-york/flushing-murray-hill/new-art-exhibition-will-takeover-vacant-midtown-building-learn-more)

New Art Exhibition Will Takeover Vacant Midtown Building: Learn More

**Gallery MOMO** emerged in Johannesburg in 2003 under the vision of Monna Mokoena, who set out to create a platform for contemporary African voices that had been largely absent from the local market. Two decades later the space was honoured with the Outstanding Art Gallery prize at the National Arts Council Awards, a testament to its steadfast commitment rather than a chase for accolades.

Since 2015 the gallery has been steered by Odysseus Shirindza, a former fashion designer and advertiser. His dual‑track experience lets him negotiate the commercial realities of the art world while championing the artists’ narratives, keeping the programme both sustainable and artist‑centric.

A cornerstone of MOMO’s model is its residency programme, largely self‑funded but bolstered by partnerships with institutions such as the School of the Art Institute of Chicago and the Southern African Foundation for Contemporary Art. These residencies give emerging creators studio space, modest stipends and a direct line to the gallery’s two‑decade network, turning a solitary practice into a launchpad for exhibitions and sales.

The South African market has seen notable closures—Kalashnikov, Stevenson’s Johannesburg branch—yet MOMO has persisted by recalibrating its fair participation and embracing digital visibility without letting Instagram hype dictate its economics. The growing appetite among younger Black collectors and the global surge in interest for contemporary African art have provided fresh momentum, even as the gallery continues to educate both patrons and artists about the value of their narratives.

Looking ahead, MOMO is gearing up for **FNB Art Joburg**, a debut show in Atlanta, and a re‑imagining of its physical space to respond to the social‑media‑driven gallery model. The aim is simple: keep the platform alive for another decade, supporting artists and the community that sustains them.

[View original article](https://mg.co.za/friday/2026-09-03-gallery-momo-and-the-long-game-of-african-art/)

Gallery MOMO and the Long Game of African Art

The Santa Clarita Artists Association (**SCAA**) launches **Sticks & Stones**, a new exhibition that celebrates the beauty, texture and colour of the natural world. Local artists translate organic forms, landscapes and unexpected details into works that invite viewers to experience nature anew.

The show opens on Friday at the **SCAA Gallery** in Old Town Newhall, with a free reception Saturday from 5‑8 p.m. Highlights include a live‑painting demonstration by **Noah Wohlenberg**, an interactive necklace‑making station hosted by **Judy Baerg**, and a musical set by **Isabella Bazler**.

Open evenings run 5‑8 p.m. on Fridays, 11 a.m.–8 p.m. Saturdays and 11 a.m.–5 p.m. Sundays, giving ample opportunity to explore the dialogue between art and environment that the exhibit nurtures.

[View original article](https://signalscv.com/2026/09/scaa-presents-sticks-stones-nature-art-exhibit/)

SCAA presents ‘Sticks & Stones’ nature art exhibit

A 24‑foot aluminum figure known as **Blue** has been taken down from the Upper Lawn of the **Kennedy Center**, ending a brief but memorable chapter for the post‑minimalist work.

Created by **Joel Shapiro**, the sculpture depicts a stick‑like human poised in mid‑kick, a gesture that animated the campus since its 2019 gift. Its sleek, kinetic form has become a recognizable landmark between the main hall and the education venue **The Reach**.

The Center issued a brief statement thanking Shapiro for the piece’s years of presence and noting that de‑installation of gifted or loaned works is a routine practice. The future of **Blue** remains unclear, with the Joel Shapiro and Ellen Phelan Foundation likely to decide its next home.

Its removal arrives amid a fraught political climate: the Board’s controversial effort to rename the grounds after President Donald Trump, costly renovation plans, and even talk of demolition have kept the institution in the headlines. The sculpture’s disappearance adds another layer to the ongoing debate over the Center’s identity and future.

[View original article](https://www.usatoday.com/story/news/politics/2026/09/03/kennedy-center-blue-sculpture-removed/91591181007/)

Video shows Kennedy Center's famed 'Blue' sculpture being removed

**Belgian Prime Minister Bart De Wever** unveiled a replica of the iconic **India Gate**, entirely sculpted from premium Belgian chocolate, as a diplomatic offering for **Prime Minister Narendra Modi**. The edible monument was intended to travel from Brussels to New Delhi as a sweet symbol of the two nations’ shared history.

The choice of the India Gate was deliberate, echoing the memory of Indian soldiers who fought in Flanders Fields during the First World War. The chocolate piece even enlarged the original inscription honoring those troops, turning a solemn tribute into a tactile, confectionery reminder of past alliances.

During the joint press conference at **Hyderabad House**, De Wever admitted that the chocolate sculpture did not survive the journey, melting or breaking before it could be presented. He promised a replacement will be sent, noting that while chocolate works well for diplomacy, it is less reliable for long‑distance travel.

The episode highlights how cultural gestures—especially edible art—can both charm and complicate statecraft. It underscores the growing importance of creative diplomacy in a relationship that the Belgian leader described as increasingly vital amid India’s rising economic and geopolitical stature.

[View original article](https://www.tribuneindia.com/news/world/india-gate-sculpture-made-from-belgian-chocolates-did-not-survive-journey-to-indiawill-get-it-to-pm-modi-in-one-piece-belgium-pm-de-wever/)

“India Gate sculpture made from Belgian chocolates did not survive journey to India…will get it to PM Modi in one piece”: Belgium PM De Wever

**Shalini Passi**’s residence on Golf Links Road reads more like a museum than a home. Spanning roughly 20,000 sq ft and housing 14 bedrooms, the property is an architectural statement that blends warmth with high‑end elegance.

The interior design showcases striking commissions: a five‑metre bar called "Yamuna" by **Based Upon**, a Baccarat crystal chandelier illuminating a Subodh Gupta oil painting, and a study anchored by a one‑of‑a‑kind **Marc Newson** table alongside a **Fornasetti** magazine rack, all framed by a mural from **M.F. Husain**.

Every wall doubles as a gallery, displaying works by Indian masters such as **M.F. Husain**, **S.H. Raza**, **Riyas Komu**, **Anita Dube**, **Zarina Hashmi**, **Subodh Gupta**, **Atul Dodiya** and **Bharti Kher**, as well as international figures like **Jeff Koons**, **Damien Hirst** and designer **Vladimir Kagan**. The collection extends to rare antiques, avant‑garde furniture and tapestries, reflecting a taste that spans continents.

Beyond personal collecting, **Shalini Passi** serves on the advisory board of **Khoj**, supports the **Kochi‑Muziris Biennale**, and founded the **Shalini Passi Art Foundation** and the digital platform **MASH** to champion emerging artists. She frequently loans pieces to major exhibitions and even practices painting herself, describing her holdings as a dialogue between art, craft, architecture and design.

The mansion thus functions as a living gallery, a testament to a philosophy that refuses to separate art from daily life, inviting guests to wander through curated spaces rather than conventional rooms.

[View original article](https://www.timesnownews.com/lifestyle/people/inside-traitors-star-shalini-passis-new-delhi-mansion-a-20000-sq-ft-private-art-gallery-25-foot-buddha-sculpture-14-bedrooms-and-baccarat-crystal-chandeliers-article-156036826)

Inside Traitors' Star Shalini Passi's New Delhi Mansion: A 20,000 Sq Ft Private Art Gallery, 25-Foot Buddha Sculpture, 14 Bedrooms And Baccarat Crystal Chandeliers

A fresh wave of experimental sound is set to ripple through Helena as a local musician prepares to present the new composition **Sculpture in the Wild**. The piece, inspired by the rugged landscape surrounding the city, weaves together field recordings, acoustic textures, and subtle electronic layers, inviting listeners to hear the natural world as a living sculpture.

The performance is slated for an intimate outdoor setting, where the boundaries between audience and environment blur. By positioning the music amid the open air, the artist encourages a direct dialogue between sound and the surrounding terrain, turning the act of listening into a form of wandering through a sonic gallery.

Critics anticipate that this immersive approach will resonate deeply with both longtime fans of avant‑garde music and newcomers drawn to the region’s artistic vitality. As Helena continues to nurture a vibrant cultural scene, **Sculpture in the Wild** promises to be a landmark moment that captures the spirit of place through innovative musical expression.

[View original article](https://missoulian.com/news/state-regional/article_d39b4c68-bcc4-5f8a-80b4-59d4fe763c22.html)

Helena musician to perform Sculpture in the Wild composition

The Belgian prime minister **Bart De Wever** attempted a sweet diplomatic offering: a full‑scale replica of New Delhi’s **India Gate** crafted entirely from premium **Belgian chocolates**. The gesture blended culinary craft with monumental symbolism, turning a stone arch into an edible artwork meant to celebrate shared wartime history.

Unfortunately the confectionery monument did not survive the trek to India, melting or breaking en route, turning the intended showcase into a cautionary anecdote about the limits of edible art in international travel. De Wever assured a backup will be sent, underscoring the persistence of the gesture.

The choice of **India Gate** is loaded with historical resonance – the monument honors Indian soldiers who fell in Flanders Fields during WWI. By enlarging the inscription on the chocolate version, the piece sought to remind both nations of that shared sacrifice, positioning the edible sculpture as a bridge between past and present.

Beyond the mishap, the episode highlights how food‑based art can serve diplomatic narratives, offering a tactile, sensory experience that traditional gifts lack. It also reflects Belgium’s pride in its confectionery heritage and its desire to position itself as a creative partner to **Narendra Modi**’s India, a nation on a fast‑track rise in the global arena.

[View original article](https://www.lokmattimes.com/international/gift-of-belgian-chocolate-sculpture-for-pm-modi-didnt-survive-journey-to-india-wever-1/)

Gift of Belgian chocolate sculpture for PM Modi didn't survive journey to India: Wever

In the spring of 2026 a monumental stone sculpture rose on the banks of the **Kali Gandaki River** near **Jomsom** in Nepal’s Mustang district. Carved by artists from the **Nepal Academy of Fine Arts** between April 20 and May 4, the 22‑foot‑tall work replicates a Shaligram—a sacred stone traditionally associated with the deity Vishnu. Weighing roughly 30 tonnes, the piece was unveiled with ritual ceremonies on May 28, 2026.

The new Shaligram quickly became a focal point for pilgrims and tourists, drawing visitors who see it as a contemporary embodiment of an ancient devotional practice. Its inauguration by the respected spiritual leader Jagadguru Shankaracharya Mahaswami Vidushekara Bharati underscored its religious weight, while the sheer scale of the carving highlighted the skill of Nepal’s modern stone‑carvers.

When flash floods struck Nepal in August 2026, videos of the towering statue resurfaced on social media, accompanied by claims that a 170‑million‑year‑old stone had been uncovered. The posts suggested the flood had revealed the world’s largest Shaligram, sparking a wave of misinformation. In reality, the footage simply showed the recently completed sculpture, and the viral narratives ignored the documented timeline of its creation.

The episode illustrates how quickly modern art can be recast as myth in the digital age, especially when natural disasters dominate headlines. It also reminds viewers that contemporary religious art, like this Shaligram, can hold profound cultural resonance without needing to be ancient. As pilgrims continue to gather at the site, the sculpture stands as a testament to Nepal’s living heritage and the power of skilled craftsmanship.

[View original article](https://www.altnews.in/17-crore-year-old-shaligram-found-in-nepal-after-floods-man-made-idol-visuals-shared-with-misleading-claims/)

Sculpture made in April-May 2026 goes viral as 170-million-year-old Shaligram found in Nepal after floods

**Three Sisters Sanctuary** in Goshen, Massachusetts feels like stepping into a living storybook. Tucked on an eight-acre plot of rolling fields, the site blends bright, hand-crafted sculptures with the surrounding woods, inviting visitors to wander from a simple park stroll into a deeper contemplation of art and nature.

The most striking piece is the **Dragon’s Den**, a towering wall that curls into a dragon's head and even exhales fire from a hidden pit. Nearby, a tin-man sentinel watches over a butterfly garden, while the **Fairy House**—an old fruit stand reborn with stained glass and whimsical dolls—offers a pocket of Alice-in-Wonderland charm.

Founded twenty-five years ago by artist Richard M. Richardson and named for his three daughters, the sanctuary aims to be a place of spirituality and healing. Its installations swing between light-filled fairy realms and stark, cold structures that echo feelings of grief, creating a balanced emotional landscape.

Beyond the outdoor exhibits, guests can explore a modest stove museum or even rent an on-site apartment through VRBO. Admission is $20 for adults, free for children under twelve, and parking is plentiful and free, ensuring the experience remains accessible to all.

[View original article](https://www.masslive.com/ne-where/2026/09/mass-hidden-gems-the-amazing-art-sanctuary-in-a-town-youve-never-heard-of.html)

Mass. Hidden Gems: The amazing art sanctuary in a town you’ve never heard of

The 16th Gwangju Biennale, one of Asia’s most ambitious contemporary art festivals, was set to open with a roster of international pavilions when Chinese participants abruptly pulled out just two days before the opening.

The catalyst was the organizers’ decision to label the National Taiwan Museum of Fine Arts’ showcase as the "Taiwan Pavilion." After a brief switch to "NTMoFA Pavilion," pressure from Taiwanese artists forced a reversal, prompting Chinese curators to deem the naming a breach of the "One China" principle.

Curator **Ruan Yuelai** voiced the collective protest, stating that the Biennale had allowed political considerations to intrude on artistic space. The **Chinese Embassy** in Seoul echoed the sentiment, issuing a formal statement that Taiwan must be presented only as a province of China and warning of diplomatic fallout.

In response, the **Gwangju Biennale Foundation** issued an apology, emphasizing its commitment to non‑intervention in artistic content while lamenting the failure to reconcile differing positions earlier. The episode underscores how contemporary art events can become flashpoints for broader geopolitical tensions.

[View original article](https://www.koreatimes.co.kr/foreignaffairs/20260903/china-protests-gwangju-biennales-use-of-taiwan-pavilion-withdraws-from-exhibition)

China protests Gwangju Biennale's use of 'Taiwan Pavilion', withdraws from exhibition

Archaeologist **Alina Kharlamova** has long studied the rare stone statues that marked the Polovtsian presence on the Eurasian steppe. One such monument, dating from the 11th–13th centuries, had been standing on a popular beach in Zhuravlivka, Kharkiv, serving as an unlikely open‑air exhibit of medieval nomadic culture.

Kharlamova repeatedly urged the beach’s leaseholders to hand the artifact over to a proper institution, specifically the **Museum of Archaeology at V. N. Karazin Kharkiv National University**. Her requests were dismissed, and the statue was treated more as a decorative prop than a protected cultural object.

During a recent visit the sculpture was gone. The municipal body **Kharkivzelenbud** confirmed that the piece was absent before any landscaping work began, suggesting it may have been removed by the former tenants or other parties with access to the site.

The loss is felt sharply at a time when Ukrainian teams are evacuating priceless monuments from active combat zones. Kharlamova has appealed for anyone with information to come forward, underscoring how local neglect can threaten heritage even far from the front lines.

[View original article](https://www.ukrinform.net/rubric-society/4160301-11th13thcentury-polovtsian-stone-sculpture-disappears-from-beach-in-kharkiv.html)

11th-13th-century Polovtsian stone sculpture disappears from beach in Kharkiv

Chinese participants announced they will withdraw from this year’s **Gwangju Biennale** after the organizers allowed the **National Taiwan Museum of Fine Arts** to label its exhibition as a "Taiwan Pavilion." The naming decision clashed with Beijing’s insistence on the "One China" principle, prompting a protest that culminated in the cancellation of the planned **China Pavilion**.

The dispute quickly moved beyond curatorial logistics, drawing in the Chinese embassy in Seoul and local officials. Diplomatic notes were exchanged, and the Chinese side warned that the controversy could echo past tensions such as the THAAD episode, underscoring how cultural events can become flashpoints in broader geopolitical rivalries.

For the biennial, the fallout raises questions about artistic autonomy and the limits of political pressure. While the foundation issued an apology and reaffirmed its non‑censorship stance, the absence of a Chinese presence will be felt across the exhibition schedule, and the episode may shape how future international pavilions negotiate identity and state sensitivities.

[View original article](https://www.koreatimes.co.kr/foreignaffairs/20260903/china-to-withdraw-from-gwangju-biennale-in-protest-of-taiwan-pavilion)

[EXCLUSIVE] China to withdraw from Gwangju Biennale in protest of Taiwan Pavilion

Booker T. Washington High School for the Performing and Visual Arts marks its 50th anniversary as an arts magnet, a milestone that underscores five decades of intensive training in both performing and visual disciplines.

The celebration kicks off with *Legacy in Motion: Alumni Arts Exhibition* on September 3, gathering works from twenty‑four alumni whose practices span painting, sculpture, photography, dance, music and theatre. The show offers visitors a chance to encounter the breadth of contemporary creativity nurtured within the school’s walls.

Featured creators include **Karen Eliza Aguilar**, **Tahnee Barbee**, **Chris Arnold**, **Alicia Chapman**, **Mark Crow**, **Jeremy Biggers**, and **Emmanuel Gillespie**, among others, each bringing a distinct perspective that reflects both personal evolution and the school’s foundational influence.

As a 1995 graduate and current principal, Garry Williams notes that the exhibition 'celebrates not only where our alumni artists are today, but also the foundation that helped them imagine what was possible,' highlighting the institution’s role in challenging young artists, encouraging voice, and inspiring lasting impact.

[View original article](https://www.dallasnews.com/arts-entertainment/things-to-do/article/booker-t-washington-art-show-22414479.php)

Booker T. Washington celebrates 50 years with alumni art show

An imposing bronze pair now stands at the African Landing Memorial on the Fort Monroe waterfront, marking the first public commemoration of the enslaved Africans who arrived in 1619. Unveiled on August 29, the six‑foot figures honor Antoney and Isabella, the couple whose child became the first documented person of African descent baptized in the Virginia colony.

The work is the creation of Florida‑based sculptor **Brian R. Owens**, who began developing the piece in 2019 with sketches and maquettes. Collaborating closely with the Fort Monroe Authority, descendants of the early colonial families, and museum director Francoise Bonnell, Owens fashioned the statues from imagination, as no living models existed. He describes the process as a 'mind‑bending challenge,' striving to capture both historical detail and a universal human moment.

Owens purposefully left the narrative open‑ended. Viewers may recognize the figures as Antoney and Isabella, or simply as a man and woman beginning a new life. He likens the experience to watching a film with friends—each person walks away with a personal interpretation. The sculptor hopes the piece offers a 'positive, forward‑looking' presence without preaching.

The bronze statues are the first of three major components planned for the African Landing Memorial, which will eventually include additional sculptural and interpretive elements tracing the journey from West‑Central Africa to early Virginia. The site is open from sunrise to sunset at 51 Fenwick Road, inviting visitors to reflect on a pivotal, though often overlooked, chapter of American history.

[View original article](https://www.twincities.com/2026/09/02/rediscovering-fort-monroes-past/)

Sculpture unveiled at the African Landing Memorial at Virginia’s Fort Monroe was years in the making

The solo show at **Kokoro Art Gallery** brings together forty‑four acrylic canvases by Kolkata‑born painter **Sourav Shree**, each probing the often‑overlooked world of Indian wedding band players.

Shree’s palette bursts with blues, golds and vivid hues, yet the compositions expose a stark contrast: glittering uniforms beside tired bodies, a blue‑and‑gold piece showing a band trudging back after a procession, and a close‑up of worn golden shoes that speak of exhaustion beneath the sparkle.

In a time when live ensembles are giving way to DJs, the artist captures a vanishing tradition with empathy and urgency. Curated by **Vandana Sehgal**, the exhibition also attracted civic attention, underscoring how these musicians’ precarious livelihoods deserve both artistic and public recognition.

[View original article](https://timesofindia.indiatimes.com/city/lucknow/sourav-shree-paints-harsh-realities-behind-indian-wedding-band-glamour/articleshow/133719598.cms)

Sourav Shree paints harsh realities behind Indian wedding band glamour

The Kennedy Center has taken down **Blue**, the striking blue stick‑figure sculpture by **Joel Shapiro** that has animated its campus since 2019. The work, a tall figure caught in a moment of kinetic energy, was meant to celebrate action, risk, and the possibilities of performance, a theme Shapiro often explored in his minimalist yet expressive forms.

The removal comes amid a broader cultural reshaping of the Washington arts scene, driven by a board aligned with former President Donald Trump that has been fighting to imprint the president’s name on the historic institution. While the decision was framed as a routine stewardship matter, it has sparked protest from local arts advocates who see the sculpture as a welcoming landmark for visitors and a symbol of the center’s commitment to contemporary art.

Artists and supporters gathered as the crane gently lowered the arms and legs of **Blue**, wrapped in protective material. Michael Sebastiani of the activist group Hands off the Arts lamented the loss, noting that the piece had become a mascot for National Dance Day events held at the REACH, the center’s newer performance space.

The sculpture’s future remains uncertain, though the Joel Shapiro and Ellen Phelan Foundation has indicated it may be reinstalled elsewhere. For now, the empty space where **Blue** once stood serves as a quiet reminder of the ongoing tension between artistic expression and political influence in the nation’s capital.

[View original article](https://www.twincities.com/2026/09/02/kennedy-center-blue-sculpture-removed/)

Kennedy Center disassembles 'Blue' sculpture from its grounds

At the heart of the Merdeka Art Exhibition 2026 – Beautiful Malaysia, held in the Shoppes at Four Seasons Place, a surprisingly informal portrait of Malaysia’s founding Prime Minister commands attention. The 80 × 60 cm acrylic canvas shows **Tunku Abdul Rahman** with his familiar walking stick against a backdrop of the Jalur Gemilang, offering a warm, approachable glimpse of the Father of Independence.

The work is the creation of **Shasharizah Mohd Said**, known artistically as Shasha MSaid. Over two months she painstakingly rendered the statesman’s facial features, posture and attire, aiming to shift the paradigm of historical portraiture toward a more relaxed yet respectful tone. Her intention was to humanise a revered figure without diminishing his stature.

The portrait earned a personal endorsement when the late Tunku’s daughter, Puan Sri Tunku Noor Hayati, remarked on its striking resemblance to her father’s true likeness. The artist’s portfolio also includes a portrait of national hero **Lieutenant Adnan Saidi**, underscoring her belief that art can serve as an educational bridge for younger generations.

Beyond this single piece, the exhibition showcases more than a hundred works by nearly as many Malaysian artists, ranging from seasoned veterans to three‑year‑old creators and artists with disabilities. Organized by the NGO Saksama in partnership with Art Market Malaysia, the show emphasizes inclusivity, bringing together diverse ethnic backgrounds and abilities under one roof and reflecting the spirit of National Month, Malaysia Day and the Visit Malaysia 2026 campaign.

[View original article](https://www.malaymail.com/news/life/2026/09/02/relaxed-tunku-portrait-steals-spotlight-at-merdeka-art-exhibition/233539)

Relaxed Tunku portrait steals spotlight at Merdeka Art Exhibition

Students from **Russell Street school** have turned ordinary traffic‑signal boxes into a gallery of colour across the city. Over 300 pieces were submitted under the theme ‘My Sarnia: What Home Means to Me’, and a curated selection now wraps the metal boxes at ten busy intersections, giving commuters a splash of youthful imagination.

The project grew out of a partnership between the school’s **builders’ club**, a Kiwanis‑sponsored group, and the municipal **transportation and development department**. Teacher Ryan Lounsbury and city development manager Alister Brown helped translate the drawings into digital wraps, turning a civic‑utility project into a community‑building exercise.

The artwork ranges from familiar local icons – the Blue Water Bridge, favourite fry shops and sports scenes – to more personal vignettes such as a circle of hands and a tiny neighbourhood library. Each image reflects how the young artists see their neighbourhood, turning everyday streets into a storybook of Sarnia life.

Residents have responded with enthusiasm, noting how the bright panels enliven otherwise bland infrastructure. The initiative demonstrates how a simple collaboration can give students a public voice, inspire pride in place, and offer a model for other schools looking to colour their city’s corners.

[View original article](https://www.brantfordexpositor.ca/news/local-news/pupils-artwork-brightening-intersections-around-sarnia-elementary-school)

Pupils' artwork brightening intersections around Sarnia school

After ten years at the helm of the **Art Gallery of Ontario**, **Stephan Jost** announced he will step down at the end of 2026. He arrived in 2016 from a string of curatorial posts in the United States and Hawaii, and quickly set a bold agenda that has reshaped the institution.

Under Jost’s direction the museum added more than 18,000 works, secured over $500 million in gifts, and launched the **Dani Reiss Modern and Contemporary gallery**—a 40,000‑square‑foot expansion slated to open in 2027. The collection has become broader, deeper and more inclusive, while audiences have grown younger and more diverse.

The period was not without turbulence. Three senior curators, including chief curator Julian Cox and inaugural Indigenous art curator Wanda Nanibush, left the organization, and a controversial decision surrounding a Nan Goldin piece sparked resignations and a governance review of the museum’s volunteer committees.

As the AGO prepares an interim leader and a global search for a permanent successor, Jost’s legacy is evident in the expanded galleries, the enriched collection and a strategic plan that has already outpaced its timeline. The next chapter will build on the foundation he established while navigating the complexities of contemporary museum practice.

[View original article](https://www.theglobeandmail.com/culture/art-and-architecture/article-stephan-jost-to-depart-role-as-art-gallery-of-ontario-ceo/)

Stephan Jost to depart role as Art Gallery of Ontario CEO

The New York State Fair currently houses a massive butter sculpture that weighs roughly eight hundred pounds. Mounted on a slow‑turning platform and shielded behind bullet‑proof glass, the piece invites visitors to circle it, examining every buttery curve from all angles.

The work depicts a group of children clutching ice‑cream cones while gazing at towering symbols of American culture—a Ferris wheel, the Empire State Building, a baseball, fireworks and an oversized milk can. A handwritten sign proclaims that summers are made of memories and milk, turning a nostalgic scene into a subtle advertisement for the dairy industry.

Butter carving has a long show‑ground pedigree, dating back to the late nineteenth century when farmers used edible monuments to flaunt the nation’s abundance. Pioneers such as **Caroline Shawk Brooks** turned butter into a medium that could rival porcelain in luminosity, establishing a tradition that fairs still celebrate today.

The current piece is the result of the collaboration between **Jim Victor** and **Marie Pelton**. Their skillful handling of the fragile medium highlights both the power and the precariousness of the myths it portrays; the sculpture’s very material threatens to melt, reminding viewers that the cultural icons it mimics are not immutable.

Beyond the novelty of an eight‑hundred‑pound dairy display, the sculpture raises questions about consumption, nostalgia and environmental urgency. It is at once a celebration of summer indulgence and a quiet commentary on the fleeting nature of the stories we choose to hold dear.

[View original article](https://www.syracuse.com/living/2026/09/behold-the-800-pound-butter-sculpture-and-think-about-your-life-nys-fair-commentary.html)

Behold the 800-pound butter sculpture and think about your life (NYS Fair commentary)

**Tasmanian Museum and Art Gallery** (TMAG), Australia’s second‑oldest museum, continues to draw crowds with permanent displays on the thylacine, Antarctica, Palawa culture and the island’s unique flora and fauna. In 2024 the venue welcomed more than 280,000 visitors, half from interstate and a notable share from overseas.

A recent dispute has erupted over staff reductions. The Community and Public Sector Union reported that TMAG was slated to lose 19.7 full‑time‑equivalent positions by the end of the financial year, while the Arts Minister and a government spokesperson have rejected claims of a 30 % workforce cut, leaving the exact figure unclear.

The controversy sits within a wider public‑service overhaul. The former Department of State Growth, now being reshaped as Building Tasmania, is set to shed 250 jobs, and TMAG will soon fall under a new Tourism, Events and Creative entity. Union leaders warn that any reductions could have a “profound effect” on the museum’s ability to preserve Tasmania’s cultural and scientific heritage.

These developments come as the state tightens its budget, targeting up to 1,800 public‑service positions by 2032, while simultaneously launching a $10 million creative‑industries fund. The tension between fiscal restraint and the need to sustain cultural institutions underscores a pivotal moment for TMAG and Tasmania’s broader arts sector.

[View original article](https://www.abc.net.au/news/2026-09-01/tasmanian-museum-and-art-gallery-job-losses-as-arts-funding-cuts/107098150)

Tasmanian Museum and Art Gallery facing job cuts, but minister unclear on number

**Tschabalala Self** is preparing to unveil **Lady in Blue**, a towering painted‑bronze figure of a black woman striding confidently across London’s iconic **Fourth Plinth**. The sculpture bursts with saturated blues and bright hues, turning the historic square into a stage for optimism and forward motion.

The project follows a painful episode in 2022 when her earlier work **Seated**—another brightly coloured bronze figure—was spray‑painted white at the **De La Warr Pavilion** after its debut at **Coal Drops Yard**. Self invited the public to a community clean‑up, turning an act of vandalism into a collective act of care.

Self’s practice blends collage, pop figuration and political idealism, earning her places in institutions such as **MoMA**, the **Guggenheim** and the **Whitney**. Critics often liken her exuberant, multicoloured forms to the joyful sculptures of **Niki de Saint Phalle**, yet her work is rooted in a distinctly contemporary, New‑York sensibility.

At the heart of her art is a simple credo: bodies should feel embodied, confident and free. She argues that an artwork’s power lies in its legibility to a broad audience, and that joy itself can be a radical act in a field that prizes conceptual austerity.

Placing a black woman as an ‘everyperson’ on the Fourth Plinth challenges long‑standing expectations of public monuments. Self hopes the figure will spark conversations about representation, freedom and the possibility of a shared future that is as bright and colourful as the sculpture itself.

[View original article](https://www.theguardian.com/artanddesign/2026/sep/01/tschabalala-self-fourth-plinth-racist-vandals-trafalgar)

‘I’m not nervous, I’m ready’: Tschabalala Self on racist vandals and her bold striding woman for the Fourth Plinth

Royal Oak’s Labor Day weekend comes alive with **Arts, Beats & Eats**, a four‑day celebration that blends live music, street food and visual art. From September 4‑7 the downtown core hosts roughly 200 performances on 11 stages, drawing crowds eager for everything from indie bands to local DJs.

Beyond the sound and flavor, the festival’s Fine Art Show stands as a highlight. This juried exhibition, praised as one of the Midwest’s premier showcases, gathers artists from across the country, offering paintings, photography, sculpture, jewelry and more.

Visitors can chat directly with creators such as **Anthony Brass**, learn about their processes, and even purchase original works at a range of price points, proving that fine art can be both approachable and affordable.

Organizers encourage guests to weave the art experience into their holiday plans, treating the exhibition as a cultural oasis amid the bustling stages and food stalls. Tickets start at $10 if bought before August 31, with prices set to rise afterward.

[View original article](https://www.clickondetroit.com/news/local/2026/09/01/arts-beats-and-eats-returns-to-royal-oak-with-200-performances-and-a-premier-fine-art-show/)

Arts, Beats and Eats returns to Royal Oak with 200 performances and a premier fine art show

**Pablo Picasso** reshaped modern art with daring experiments that broke every convention of his time. From the birth of Cubism to his later playful sketches, he never abandoned the sense of wonder he first felt as a child, a quality he believed all people are born with.

The famous line “All children are artists. The problem is how to remain an artist once he grows up” captures his definition of an artist as anyone who stays curious, experiments freely, and expresses without fear of judgment. For Picasso, the label was less about technical skill and more about preserving the fearless impulse to create.

As people move through school, work, and societal expectations, the spontaneous joy of making can be replaced by a habit of conformity. The quote warns that the real loss is not talent but the willingness to take risks and play with ideas, a habit that adulthood often discourages.

In today’s world, where innovation is prized and social media amplifies perfection, Picasso’s reminder feels especially urgent. Creativity now fuels everything from technology to personal relationships, and the ability to approach problems with a child’s openness can be the difference between stagnation and breakthrough.

[View original article](https://timesofindia.indiatimes.com/life-style/the-arts/quote-of-the-day-by-pablo-picasso-all-children-are-artists-the-problem-is-how-to-remain-an-artist-once-he-grows-up-what-picasso-advises-on-not-blindly-resorting-to-the-rules-and-encourages-innovating-something-new-/articleshow/133666112.cms)

Quote of the day by Pablo Picasso: “All children are artists. The problem is how to remain an artist once he grows up”; What Picasso advises on not blindly resorting to the rules and encourages innova

Zheng’an, a modest town in Guizhou’s mountains, now greets visitors with a towering guitar sculpture in its central square, murals of fretboards on walls, and even trash cans shaped like the instrument. In just a decade the place has become the source of roughly one in every seven guitars sold worldwide.

That transformation began in 2012 when local officials launched the "return the phoenix to the nest" programme, urging migrant workers to come home and start factories. Former Guangzhou entrepreneur **Zheng Chuanjiu** answered the call, founding **Shenqu Guitar** and setting up the first workshop in the new economic zone. His success attracted dozens of former villagers, sparking a cluster of specialised guitar makers.

The county sweetened the deal with three‑year tax holidays, ten years of free rent and streamlined export‑rebate procedures. Combined with a climate that luthiers say is ideal for wood seasoning, the incentives proved magnetic. Master craftsman **Zhang Weiyi**, who relocated from Guangzhou in 2019, now hand‑shapes a few hundred instruments each year, while the town as a whole churns out about 2.5 million guitars annually.

Exports have exploded: in 2025 the hub shipped roughly 248 million yuan of guitars to more than forty countries, supported by generous subsidies that local firms say saved them 147 million yuan in tax relief that year alone. The scale has drawn scrutiny abroad, yet officials argue the model arrests rural depopulation and gives the region a distinctive industrial identity.

Beyond economics, music has seeped into daily life. The main square reverberates with melodies, and it’s common to see children and adults alike strolling with guitar cases on their way to lessons. The atmosphere, described by **Zhang** as "really nice," feels like a community built around a shared chord.

[View original article](https://www.malaymail.com/news/life/2026/09/01/chinas-guitar-capital-zhengan-builds-a-stairway-to-export-heaven-after-decadelong-manufacturing-boom/233415)

China’s guitar capital Zheng’an builds a stairway to export heaven after decade‑long manufacturing boom

At the **Minnesota State Fair**, a long‑standing rite sees the fair’s Dairy Princesses crowned with a sculpted head of butter, a 90‑pound block that becomes both trophy and kitchen treasure.

The finished butter head is packed in a sturdy cardboard crate, often sharing space with the remaining scraps and a clear trash bag. The boxes are snug, so the delicate nose or chin may flatten during the ride, and the fair does not provide refrigeration – families rely on a quick, air‑conditioned drive or simply the sheer mass of the brick to keep it solid.

Once home, families typically slice off pieces from the back of the block, preserving the face for special occasions. By cutting gradually, a single butter head can stretch over two to three years, finding its way into family meals, community pot‑lucks, or even charitable donations. Some households opt for a grand “butter feast,” using the whole brick in one celebratory cooking marathon.

Beyond the practicalities, the butter head embodies a quirky blend of agricultural pride and artistic craft, turning a fleeting fair spectacle into a lasting, edible legacy for the princess’s family and the broader community.

[View original article](https://kdhlradio.com/ixp/66/p/butter-sculptures-minnesota-state-fair/)

Dairy Princess Butter Sculpture Traditions At MN State Fair

In the aftermath of the tragic flash floods that swept through Nepal, a massive stone appeared in a video that quickly went viral, billed as a 175‑million‑year‑old **Shaligram** fossil unearthed from the Kaligandaki River.

Closer inspection revealed a different story: the stone had been deliberately shaped during a fifteen‑day carving workshop in Jomsom. More than three dozen artisans from the **Nepal Academy of Fine Arts** gathered to transform raw river rock into a towering **Shaligram** and a series of religious icons, including figures of Shiva, Parvati, Vishnu, Buddha, as well as representations of the Himalayan snow leopard and sheep.

The workshop was organized by the **Gharpjhong Rural Municipality** and co‑financed by regional development offices, reflecting a coordinated effort to celebrate local craftsmanship and promote cultural tourism. The culmination of the project was a ceremonial unveiling led by a senior Indian monk, underscoring the stone’s intended role as a pilgrimage draw.

The rapid spread of the video illustrates how contemporary digital platforms can blur the line between natural marvel and human artistry, turning a carefully crafted cultural showcase into a viral myth of ancient discovery.

[View original article](https://www.indiatoday.in/fact-check/story/nepal-floods-viral-video-fact-check-carved-shaligram-jomsom-not-ancient-fossil-2983808-2026-08-31)

Fact Check: This is NOT a millions-of-years-old Shaligram found during Nepal floods

After a year‑long hiatus, **Western Stars Gallery** has swung its doors open again on East Main Street in Lyons, reclaiming its role as a hub for Colorado‑made art.

The closure stemmed from a clash with the previous landlord, who wanted non‑local pieces sold alongside the gallery’s offerings. When **Sally Glass** purchased the building, she restored the space in memory of her son **Christian**, a local artist, and partnered with curator **Chrystal DeCoster** to bring the artists back.

Today the gallery presents work from roughly a hundred creators, ranging from paintings and pottery to crystal lamps, jewelry, handbags and even vinyl by the Lyons bluegrass group **High Lonesome**. The space also houses classrooms where makers can share their skills.

The reopening dovetails with the newly formed **Lyons Creative District**, which streamlines state funding for local projects. Visitors will find familiar names such as **Android Jones**, **Ruth Wilson**, and **Parker McDonald**, whose award‑winning metal bison greets drivers outside. Handcrafted coats by **Charmaine Nicholson** add a textile dimension to the mix.

For the community, the return feels like a miracle; the gallery’s blend of established and emerging talent reaffirms Lyons’ reputation as a vibrant arts destination along the well‑traveled U‑36 corridor.

[View original article](https://www.dailycamera.com/2026/08/31/western-stars-gallery-reopening/)

Lyons art gallery Western Stars reopens

The Whangārei art centre and gallery faced a startling loss when the newly installed **Tiori Toru** sculpture vanished overnight, prompting an urgent call for public assistance.

The work, a striking glass and resin representation of native birds set in a pōhutukawa slab, had been unveiled as part of an outdoor exhibition intended to bring art into everyday public spaces. Its disappearance was captured on CCTV, showing a thief fleeing on a bicycle.

Centre staff expressed deep disappointment, noting the emotional impact on the artist and the broader community that had come to cherish the piece. They stressed that the theft threatens the trust that allows artists to display work outside traditional walls.

Authorities have been contacted, and the centre is urging anyone with information to reach out anonymously via Crime Stoppers, hoping the sculpture can be recovered undamaged and that future outdoor projects remain viable.

[View original article](https://www.nzherald.co.nz/northern-advocate/news/stolen-tiori-toru-sculpture-hundertwasser-art-centre-with-wairau-maori-art-gallery-seeks-public-help/FOBC5LHAFFBSJICZQENUJUYOQI/)

Stolen Tiori Toru sculpture: Whangārei art centre and gallery seek public help finding thief who escaped on bicycle

In the mountains of Guizhou, the town of **Zheng'an** has turned its central square into a giant guitar sculpture and its streets into a chorus of music. Within a decade the place, once devoid of any instrument industry, now supplies one in seven guitars sold worldwide.

The boom began when local officials launched a “return the phoenix to the nest” programme, coaxing migrant workers back home. One of the first to answer was Zheng Chuanjiu, founder of **Shenqu Guitar**, who set up a factory in the new economic zone and soon attracted dozens of fellow villagers.

The cluster now hosts 87 home‑grown brands, backed by tax holidays, rent‑free periods and streamlined export rebates. The region’s humid climate and abundant timber also give a natural edge, a point emphasized by master luthier **Zhang Weiyi**, who hand‑crafts about 150 instruments a year from ox‑bone inlays.

By 2025 the town shipped roughly 2.5 million guitars—worth 248 million yuan—to more than 40 countries, while the sound of practice rooms and street musicians fills the square. The success illustrates how targeted industrial policy can revive a rural community, turning a former “brain‑drain” into a vibrant cultural hub.

[View original article](https://www.bangkokpost.com/world/3311164/chinese-guitar-capitals-stairway-to-export-heaven)

Chinese guitar capital's stairway to export heaven

Seoul is turning eight downtown media screens into a citywide outdoor gallery as part of **Media Art Seoul × Kiaf**, running until Sept 19. The two‑minute program loops hourly, showcasing works by four selected artists for commuters and visitors.

The loop presents four pieces—“Universe,” “Breath of Ink,” “The Birth of a New Flower,” and “Mirrormask: The Self Beyond the Boundary”—each lasting 30 seconds. Screens include KT Square, K‑Vision at Koreana Hotel, Lumi Media, LUUX, Ilmin Museum of Art and three municipal platforms, operating from 6 am to midnight, with night‑only facades at Atelier Nodeul and Atelier Gwanghwa.

The fair’s 25th edition at **COEX** also features a tactile‑digital installation: real green barley moves before an 8 m × 3.6 m screen, its motion mirrored by video, engaging sight, scent and wind. Additional works appear at Atelier Nodeul, Atelier Gwanghwa and Haechi Madang Media Wall.

Visitors can scan QR codes for AI‑generated audio guides, while city officials see the project as a way to weave media art into everyday life and boost cultural tourism.

[View original article](https://www.koreatimes.co.kr/lifestyle/arts-theater/20260831/seoul-turns-outdoor-screens-into-citywide-art-gallery-for-kiaf)

Seoul turns outdoor screens into citywide art gallery for Kiaf

The iconic modern art gallery at **Bharat Bhavan** in Bhopal has been reduced to empty halls as rain‑filled leaks force curators to strip the walls of their displays.

Heavy monsoon showers have driven staff to drape black tarpaulin over large sections of the 46‑year‑old roof, weighing it down with stones and broken brick to keep the sheets from blowing away. The makeshift cover now dominates the skyline above the Upper Lake.

More than fifty works have been hurriedly moved to storage, including pieces by **Sudhir Patwardhan**, **Suresh Chaudhary**, **Rajesh Ambalkar**, and **Sejal Singh**. The gallery normally showcases around three hundred paintings at a time, drawn from a permanent collection of over two thousand masterpieces by legends such as **M.F. Husain**, **S.H. Raza**, **V.S. Gaitonde**, **Satish Gujral**, and **Tyeb Mehta**, many valued in the hundreds of crores.

Officials acknowledge that the building urgently needs a structural overhaul. Until a comprehensive renovation is approved, temporary measures like the tarpaulin and relocation of artworks are the only safeguards against water damage and fungal decay.

[View original article](https://www.freepressjournal.in/bhopal/bhopals-bharat-bhavan-under-tarpaulin-as-leaking-roof-threatens-priceless-art-collection)

Bhopal’s Bharat Bhavan Under Tarpaulin As Leaking Roof Threatens Priceless Art Collection

Singapore Airlines marked its 60th anniversary in the Philippines by gifting **Impy Pilapil**’s original sculpture **Flight** to the **Singapore Embassy** in Manila. The handover ceremony, held at the embassy in Bonifacio Global City, was attended by Ambassador Constance See and SIA Philippines General Manager Liwei Tai.

Commissioned in 2015, **Flight** spent a decade in the airline’s **SilverKris Lounge** at NAIA Terminal 3, where it offered travelers a familiar artistic touch before departure. Its new home places it alongside three other Pilapil works that have been displayed at the embassy since the building opened in 2008.

Award‑winning Filipino visual artist **Impy Pilapil**, known for working in stone, glass, steel, wood and paper, described the reunion of the four sculptures as a “complete narrative of harmony and shared identity.” She likened the sculpture’s theme of flight to movement, connection and the transcending of physical boundaries—mirroring the airline’s role.

Both the ambassador and SIA’s Philippines GM emphasized that art serves as a bridge between cultures, celebrating the long‑standing bilateral ties between Singapore and the Philippines. The gesture highlights how corporate patronage can provide artworks with a meaningful new home while reinforcing diplomatic friendship.

[View original article](https://www.manilatimes.net/2026/08/31/expats-diplomats/singapore-airlines-presents-flight-sculpture-to-singapore-embassy/2414648)

Singapore Airlines presents ‘Flight’ sculpture to Singapore Embassy

A new four‑panel mural now dominates the façade of the historic **Renaissance Building** on **Otto Boulevard**, offering a burst of color and optimism to the neighborhood.  Created by Chicago‑based artist **Javier Chavira**, the work opens with a tribute to Maya Angelou’s poem “**Still I Rise**,” depicting a bird poised for flight and evoking the mythic phoenix rising from ashes.

Chavira, a longtime professor of painting and drawing at Governors State University and director of the Christopher Gallery at Prairie State College, sees the piece as a visual promise of hope.  He describes the swirling bird as a “barn swallow” that captures movement, life’s ripple effect, and the city’s renewal.

The mural adorns the once‑vacant Renaissance Building, a former home of the **Chicago Heights Star** newspaper that has lain empty for years.  Its bright acrylic panels now stand out across the street from the vibrant **Union Street Gallery**, turning a neglected storefront into a landmark visible from the historic downtown stretch of Lincoln Highway.

The four sections—“**Creation**,” “**Moonlight**,” “**Celestial**,” and the opening “**Still I Rise**”—are framed by circular motifs.  “Creation” hints at an eclipse, “Moonlight” nods to the designs of Charles Rennie MacKintosh, and “Celestial” completes the celestial narrative, each panel blending realism with abstraction.

Local officials and residents have embraced the project.  Mayor David Gonzalez praised the mural for bringing “art, character and a new sense of pride” to the street, while gallery staff and longtime community artists describe the work as uplifting and a catalyst for further investment in the area.

[View original article](https://www.chicagotribune.com/2026/08/30/chicago-heights-otto-mural/)

Chicago Heights, art gallery team for new Otto Boulevard mural

Art lovers can start their Saturday at the **Family Resemblances** exhibition in the Dr. Bhau Daji Lad Museum, where curators Mortimer Chatterjee and Tasneem Zakaria Mehta trace the evolution of the Sir J.J. School and its quest for a modern Indian idiom.

Anime enthusiasts will converge at the **Anime India** convention in the Bombay Exhibition Centre, a two‑day extravaganza featuring three stages, immersive installations and a sprawling show floor that caters to both seasoned otaku and newcomers.

Comedy fans have a night of laughs lined up with Amit Tandon’s stand‑up show at the Lata Mangeshkar Natyagruha Auditorium, offering observational humor that taps into everyday life.

The city’s streets will pulse with devotion as Ganesh mandals in Lalbaug‑Parel stage their Aagman processions, complete with towering idols, dhol‑tasha drums and throngs of worshippers.

Finally, the **Rajadhiraaj: The Musical** at The Grand Theatre, NMACC, promises a grand retelling of Lord Krishna’s story, blending theatre, music and elaborate production design into what is billed as the world’s first mega musical play.

[View original article](https://www.freepressjournal.in/lifestyle/mumbai-this-weekend-anime-india-expo-exhibitions-stand-up-comedy-more-to-explore)

Mumbai This Weekend: Anime India Expo, Exhibitions, Stand-Up Comedy & More To Explore

At sunrise, the iconic shikaras of Dal Lake glide beneath a canopy of vivid reds, blues and golds, turning the waterway into a moving exhibition. The traditional wooden boats, long a symbol of Kashmiri life, now wear hand‑painted panels that echo the valley’s folklore, architecture and seasonal moods.

The makeover is part of **Aks‑e‑Kashmir**, a public‑art project commissioned by **Asian Paints** in partnership with St+art Foundation, XXL Collective and local designers. Forty artisans and contemporary painters such as Owais Ahmed, Sheehij Kaul, Zahra Javed and Shweta Sharma have reimagined each vessel, blending classic motifs of carpets, papier‑mâché and walnut carving with modern colour palettes.

Beyond aesthetics, the colourful shikaras have become a lifeline for the boatmen who depend on them. Owners report that tourists now select the most striking boats, boosting fares and justifying the roughly ₹20,000 upkeep cost. For veterans like Mohamed Ashraf and Muzaffar Ahmed, the painted hulls are both a source of pride and a tangible investment in their families’ future.

The project demonstrates how public art can reinforce cultural memory while stimulating the local economy. By embedding stories of Kashmiri craftsmanship directly onto the vessels that ferry daily life, **Aks‑e‑Kashmir** invites visitors to experience heritage not behind glass but on the water itself, ensuring the shikara remains a living canvas for generations to come.

[View original article](https://www.freepressjournal.in/lifestyle/dal-lake-turns-into-an-open-air-art-gallery-with-40-vibrant-shikaras)

Dal Lake Turns Into An Open-Air Art Gallery With 40 Vibrant Shikaras

The ninth **Delhi Contemporary Art Week** arrives at **Bikaner House**, gathering six women‑run galleries—Blueprint12, Exhibit 320, Gallery Espace, Latitude 28, Shrine Empire and Vadehra Art Gallery—for a week‑long immersion in contemporary practice across India and South Asia.

Gallery Espace’s "Presenting Abundance" blends miniature traditions with abstraction, highlighting surface, colour and ornament through artists such as Waswo X Waswo and Shobha Broota. Blueprint12’s "Ways of Being Seen" turns the body into a site of queer visibility, displacement and grief, featuring works by JK, Nameera Irshad and others. Latitude 28’s "Meridian" gathers fourteen practices to interrogate inheritance, land and folklore. Shrine Empire presents a diverse roster that probes memory and landscape, while Exhibit 320 focuses on materiality and home through Barkha Gupta, Jaimini Jariwala and Maitreyi Desai. Vadehra’s "A Geography of Tender Things" offers an emotionally resonant look at place, with contributions from Anju Dodiya, Zaam Arif and Atul Dodiya.

Two curatorial projects extend the programme beyond the galleries. Adwait Singh’s "Bye‑Bye Monsoon" uses the 1978 Delhi tornado as a lens for climate disruption, while Annalisa Mansukhani’s "This Animate Earth" foregrounds plants, roots and soil as archives of labour, caste and empire. Both exhibitions weave ecological concern with personal and collective memory.

Organisers stress that DCAW is more than a market fair; it functions as a laboratory for dialogue, inviting audiences to linger with paintings, sculptures, textiles and archives without the pressure of commercial sales. The week’s emphasis on bodies, landscapes, archives and the everyday material world makes the event a vital meeting point for the city’s cultural fabric.

[View original article](https://www.tribuneindia.com/news/arts/delhi-contemporary-art-week-6-galleries-2-exhibitions-and-a-wider-view-of-the-world/)

Delhi Contemporary Art Week: 6 galleries, 2 exhibitions, and a wider view of the world

Tom Pall, a former boilermaker from the dusty sheds of Goondiwindi, turned the clang of welding into a personal language of metal, shaping everything from animal silhouettes to surreal brain‑like forms. His journey from a machinery shed to a home studio mirrors the way scrap metal became a canvas for his imagination.

The centerpiece of his current exhibition, **The Weight of Consciousness**, is a towering inverted pyramid hoisted by a single bee. The work juxtaposes the enormity of human self‑awareness with the humble, tireless labor of the insect, suggesting that consciousness, however heavy, can be shouldered without the burden of existential dread.

Displayed at the **Swell Sculpture Festival** on Currumbin Beach, the piece joins more than a hundred installations that transform the coastline into an open‑air gallery. Fellow Queensland creator **Angus Wilson** contributes his three‑metre **Medusa**, forged from a busted water pipe and discarded cables, adding to the festival’s eclectic mix of reclaimed‑material sculptures.

Beyond the visual spectacle, the festival and the surrounding town of Goondiwindi illustrate how public art can enliven a community. Residents and visitors alike are invited to wander among the works, experiencing art without ticket barriers and feeling a renewed sense of place in a landscape that now hums with creativity.

[View original article](https://www.perthnow.com.au/entertainment/to-bee-or-not-to-bee-sculptor-ponders-big-questions-c-22796027)

To bee or not to bee, sculptor ponders big questions

Boulder Office of Arts and Culture's Creative Neighborhoods Program has allocated $30,000 to eight resident‑led initiatives that will embed visual art, sculpture, performance, and community gathering spots across the city.

Visual works include a mural by **Chandler Condon** at **Ruzo Coffee** portraying a Japanese tea farm framed by the Flatirons, a vibrant shed mural by **Nicole Cardelfe** along the Table Mesa school route, and a new metal sculpture by **Michael Deragisch** celebrating local community spirit.

Hands‑on projects feature **Dennis Mulherin** and **Nikki Nichols** constructing a painted “Community Seed Shed” with bench and bulletin board for gardening enthusiasts, and a collaborative series of 20 birdhouses built by a North Boulder woodworker for a neighborhood‑wide birdhouse walk.

Performance elements include **Kristen Mylander**’s shadow‑puppet shows at **Salberg Park** with craft activities for kids, a dance exhibition by **Mary Wohl Haan**, and an outdoor concert by **SUPA! Marimba** at **Tantra Park** on Aug. 21. All projects must conclude by Sept. 30, 2027, with the next funding cycle opening in May 2027.

[View original article](https://www.dailycamera.com/2026/08/29/boulder-creative-neighborhoods-funding/)

Boulder funds 8 neighborhood art projects with $30,000

**Smrit Luthra** brings a quiet, immersive dialogue with nature to the walls of **Thakar Singh Art Gallery** in Amritsar. Rendered in oil on canvas, the show invites visitors to pause and reconnect with the natural world, not as a distant subject but as a living presence that pulses with its own moods.

Through layered colour, expressive brushwork and a keen sense of light, Luthra transforms familiar elements—earth, sky, water, foliage—into evocative visual experiences. The paintings balance stillness with an underlying vitality, capturing atmosphere rather than literal detail and allowing each canvas to unfold gradually before the eye.

The artist’s own journeys across India, undertaken during long solo walks, inform this work. Those travels become a reservoir of memory and reflection, which she translates onto canvas as personal yet universal emotions. The exhibition feels like an invitation to step into those remembered landscapes and feel the quiet intensity they hold.

[View original article](https://www.tribuneindia.com/news/punjab/artist-smrit-luthras-brush-with-nature-its-serenity-in-amritsar-art-gallery/)

Artist Smrit Luthra’s brush with nature, its serenity in Amritsar art gallery

**Suni Lee** bronze bust, sculpted by Hmong artist **Seexeng Lee**, was unveiled in July 2023 at **Phalen Regional Park** as a tribute to the Olympic gold‑medalist and a symbol of the East Side and Hmong community. Weighing roughly 45 pounds, the piece stands on a rock bearing the athlete’s name and celebrates her historic 2021 all‑around victory.

Less than a year later, the bust vanished, discovered missing by park staff on July 31, 2025. The pedestal remained, but the bronze figure and its supporting rock were gone, prompting a citywide search and online pleas for information.

Police traced a tip to an apartment in the Payne‑Phalen neighborhood, where a 22‑year‑old man was arrested on suspicion of receiving stolen property after a shots‑fired call led officers inside. The bust was found in plain view at the foot of a closet, along with a handgun. The suspect’s mother later told detectives she had recovered the sculpture from a nearby bush a month earlier and, unsure how to return it, brought it home.

The episode underscores how public art, especially works that embody cultural pride, can become vulnerable targets. While the bust’s recovery restores a tangible piece of community heritage, the surrounding legal saga—highlighted by the mother’s extensive felony record—reminds cities of the ongoing challenges in protecting and preserving celebrated artworks.

[View original article](https://www.twincities.com/2026/08/29/st-paul-stolen-suni-lee-bust/)

After son’s arrest, St. Paul woman allegedly said she found stolen Suni Lee bust in bushes

A San Francisco couple uncovered a massive limestone statue while doing yard work, sparking curiosity about its origins.

The piece, about two feet wide and weighing 150 pounds, shows a human face with distinct lips and a nose, suggesting professional craftsmanship. **Greg Gatwood** and **Judy Gittelsohn** have been researching its possible ties to the 1930s Works Progress Administration and to local sculptor **Ralph Stackpole**, who taught nearby at the former San Francisco Art Institute.

The use of inexpensive limestone hints it may have been garden ornamentation that was eventually buried. A 93‑year‑old neighbor, who once curated a Stackpole exhibition, reached out with clues that the work could be linked to the WPA era.

The couple plans to exhibit the sculpture at the **American Messenger Gallery** later this year, hoping experts can identify the artist and restore its story.

[View original article](https://www.foxnews.com/travel/stunned-couple-unearths-150-pound-mystery-hidden-beneath-backyard-decades)

San Francisco couple unearths stunning limestone sculpture tied to WPA artist

The **Phoenix statue**, conceived by local artist **George Wagstaffe**, has long served as a visual reminder of Coventry’s rise from wartime ruin. First unveiled in 1962 by Princess Margaret and recast in bronze in 1983, the work has been shifted around the city centre several times.

Recent demolition for the City Centre South regeneration has left the piece tucked behind hoardings and fencing. Council officials say it will be lifted and installed at a prominent entrance near the former Woolworths (now Poundland) site, giving it a more visible role in the new urban landscape.

The move reinforces the sculpture’s enduring symbolism of renewal, ensuring the **Phoenix statue** continues to preside over a city that is constantly reshaping itself.

[View original article](https://www.coventrytelegraph.net/news/coventry-news/coventrys-iconic-phoenix-statue-find-34512862)

Coventry's iconic Phoenix statue to find new home amid City Centre South works

Physical Culture turns the gym into a gallery, inviting visitors to lift sculptural weights instead of metal plates. At **Nottingham Contemporary**, fully functional fitness machines are loaded with Jesmonite forms that look like abstract art objects, blurring the line between workout and exhibition.

The show marks **Augustus Serapinas**’ first institutional solo show in England. He argues that the rituals of training are as much cultural performance as any artistic practice, and the pieces ask us to reconsider how bodies are shaped by both discipline and perception.

Collaborators from Nottingham Trent University and local fitness coaches helped fabricate the pieces, turning standard equipment into bespoke sculptures. Even the “hurdles” echo historic portrait heads, linking contemporary body culture to centuries of artistic representation.

One‑to‑one instructors are on hand to guide participants of all abilities, emphasizing the exhibition’s commitment to accessibility. Visitors report a surprising shift in perspective, noting how the uneven weight of the sculptural plates makes each rep feel like a performance.

Since opening in 2009, **Nottingham Contemporary** has welcomed millions, and this timely intervention adds a kinetic layer to its program, inviting the public to sweat, think, and see the body as both subject and medium.

[View original article](https://www.nottinghampost.com/news/nottingham-news/gym-meets-sculpture-unique-new-11123478)

Gym meets sculpture in unique new Nottingham art exhibition

**Auckland Art Gallery** has brought back **the fundamental practice**, the 2005 installation that sent New Zealand’s **Venice Biennale** pavilion into a national firestorm. After two decades in storage, the work now occupies a dedicated corridor, inviting visitors to walk through a kinetic, sound‑filled environment that still feels as unsettling as it did in Venice.\n\nThe original piece, presented under the collective name **et al.**, was deliberately anonymous – its creators used pseudonyms such as P. Mule and L. Budd and refused interviews. The government‑funded project attracted fierce criticism, with politicians dubbing it a waste of taxpayers’ money and the media turning the debate into a spectacle about who should represent the country abroad.\n\nInside the gallery the installation consists of five autonomous metal units that glide on tracks, each emitting computer‑generated voices that recite a range of human beliefs. The soundscape shifts from speech to music to birdsong, while found objects – old computers, chairs, egg trays – are arranged like the remnants of an abandoned factory, reinforcing the work’s themes of colonisation, technology and belief.\n\nCurator **Natasha Conland**, who also oversaw the original Venice presentation, frames the 2026 showing as a “21st‑birthday” update, incorporating AI‑generated interpretations into the audio. Visitors seem to engage more calmly than the heated public debate of 2005, suggesting a maturing attitude toward experimental art and its public funding.\n\nThe revival raises the question whether New Zealand has finally moved beyond the old “art‑bashing” narrative. As the autonomous systems continue their slow patrol, the work quietly asks viewers to consider how belief systems are programmed, and whether the controversy that once surrounded it has become part of the artwork’s own history.

[View original article](https://www.nzherald.co.nz/lifestyle/auckland-art-gallery-revisits-et-als-venice-biennale-controversy/premium/ZUIIXEDJEJEVBA2L3BQGZUA7KI/)

Auckland Art Gallery revisits et al.’s Venice Biennale controversy

The Victorian government has pulled the plug on a commissioned bronze likeness of former premier **Daniel Andrews**, a move that has sparked debate over public art and fiscal prudence.

The statue, part of a policy dating back to 1999 that automatically honoured long‑serving premiers with monuments on **Treasury Place**, had already entered the workshop in May, with **Meridian Sculpture** tasked to produce the work after a standard tender.

Premier **Ben Carroll** announced the cancellation and set up an independent bipartisan panel to review how the state commemorates officials, emphasizing that gratitude does not have to be expressed through taxpayer‑funded monuments.

Critics, especially from the Liberal opposition, seized on the $134,000 price tag as evidence of wasteful spending, while the panel will now consider alternative subjects and locations for the commissioned piece.

The decision reflects a broader reassessment of public memorials, balancing artistic legacy with accountability, and leaves the future of Victoria’s premier statues in limbo.

[View original article](https://www.theguardian.com/australia-news/2026/aug/29/controversial-plans-for-a-daniel-andrews-sculpture-officially-scrapped-by-victorian-government)

Controversial plans for a Daniel Andrews sculpture officially scrapped by Victorian government

Yayoi Kusama’s **Infinity Mirror Rooms** have become a cultural touchstone, turning the quiet contemplation of modern art into a dazzling, participatory spectacle.  The mirrored chambers, filled with lights and repetitive forms, plunge visitors into a seemingly endless cosmos that feels both intimate and infinite.

The installations have generated record‑breaking crowds: queues of hours at London’s Victoria Miro, a ticket‑sale crash at **The Broad** in Los Angeles, and a surge of 475,000 visitors at Washington’s **Hirshhorn** when six rooms were on view together.  Museums have had to treat these shows as crowd‑control events, adding temporary facilities and managing lines that begin before sunrise.

Kusama’s journey to this fame was long and uneven.  After years of obscurity in the 1960s New York scene, a series of retrospectives in the late 1980s and early 1990s finally opened doors.  The rise of Instagram turned her mirrored environments into selfie‑ready backdrops, propelling the artist to global recognition and making “#infinitekusama” a viral phenomenon.

The ripple effect is evident in the flood of immersive pop‑ups and “experiums” that now populate major cities, from ball‑pit museums to elaborate photo sets.  Critics have debated the depth of the experience, but many curators stress that the rooms demand a bodily presence; the viewer’s body becomes part of the work, echoing Kusama’s lifelong exploration of self‑obliteration and cosmic insignificance.

Even after her passing, the **Infinity Mirror Rooms** continue to travel, appearing at institutions such as the Fondation Beyeler, the Ludwig Museum, and the Stedelijk.  Their enduring appeal suggests that Kusama’s blend of personal vision and universal wonder will keep audiences stepping into mirrored universes for years to come.

[View original article](https://abc17news.com/entertainment/cnn-style/2026/08/28/for-better-or-worse-yayoi-kusamas-infinity-rooms-reshaped-the-world/)

For better or worse, Yayoi Kusama’s Infinity Rooms reshaped the world

Durham’s new gallery opens with *Victory Over the Sun*, a re‑creation of the 1913 Russian futurist spectacle that frames a broad survey of light art. Installations by **Olafur Eliasson**, **Ceal Floyer** and others turn the space into a luminous laboratory, inviting visitors to linger until mid‑January.

Across the Thames, the Tate Modern presents a moving tribute to **Ana Mendieta**, whose performance‑based works continue to inspire a fresh generation of artists. The show runs through January, offering a contemplative journey through the artist’s mythic imagination.

In Scotland, **Sgàire Wood** transforms the wooded grounds of Jupiter Artland into a playful arena of heraldry, fashion and sectarian politics, weaving narrative sculpture into the landscape. Meanwhile, **Claire Curneen**’s eerie sea‑side installations at Anima Mundi explore mortality with a macabre, salt‑kissed aesthetic that feels both timeless and unsettling.

The week also marked the loss of several cultural icons. Japanese visionary **Yayoi Kusama**, celebrated for her infinity rooms and obsessive motifs, died at 97, leaving a legacy of self‑obliteration and boundless imagination. American assemblage pioneer **Betye Saar** passed at 99, and Korean abstract painter **Ha Chong‑Hyun** reflected on rebellion in his late works. In other news, Freddie Mercury’s iconic costumes are heading to display, and a Rotterdam waterfront plan has drawn cheeky comparisons to a cartoonish nightmare.

[View original article](https://www.theguardian.com/artanddesign/2026/aug/28/the-week-in-art-yayoi-kusama)

A gallery glow up, spooky sculpture and a magical modern - the week in art

The council has earmarked £47,000 for a new public‑art piece to be installed in **Nightingale Community Garden**, a volunteer‑run green space in the Queen Edith’s area of Cambridge. The proposal is part of a broader effort to enliven the Nightingale Recreation Ground with a series of artworks.

Volunteers, led by long‑time pond coordinator Anne Davenport, warn that the garden has become a nightly hang‑out for teenagers who smoke, drink and, on one occasion, sparked a small fire that threatened a historic Swedish Whitebeam tree. The volunteers fear a sculpture could become an easy target for vandalism and litter, adding to the existing challenges of managing large groups of youths.

Accessibility is another concern: the garden’s raised beds are vital for wheelchair users and those with limited mobility. A permanent statue could obstruct pathways, making it harder for disabled gardeners to navigate the space safely.

**Cambridge City Council** acknowledges the worries but stresses that relocating the work would jeopardise the funding and the artist’s commission. Designers have been asked to choose materials that deter vandalism, and the council promises continued dialogue with volunteers and the local ward councillor, **Imogen Blackburn‑Horgan**, to find practical solutions while keeping the art project on track.

[View original article](https://www.cambridge-news.co.uk/news/cambridge-news/cambridge-garden-plagued-large-groups-34528197)

Cambridge garden plagued by 'large groups of youths' at heart of sculpture row

Singapore’s culinary heritage takes center stage at the Homo Faber 2026 exhibition in Venice, where two artisans present work that blurs the line between craft and fine art.

**Koh Pei Li** transforms parchment and washi paper into a 50‑centimetre‑tall torch ginger sculpture. Using watercolour, acrylic ink and pastel, she builds layer after layer to capture the flower’s waxy translucency, a detail praised by botanists at the Singapore Botanic Gardens. The piece not only celebrates a staple of local rojak but also marks the first time a Singaporean paper artisan will demonstrate live at the show.

**Ng Sze Kiat**, founder of the mycological design studio Bewilder, offers a functional counterpoint with a coffee table grown from mushrooms. The tabletop of crystal glass is framed by a moulded fungal block whose texture is controlled by exposure to air and light, turning a kitchen staple into a living sculpture.

Both creators are expanding beyond the exhibition. Koh’s large‑scale installations such as *Echoes In Bloom* have migrated from Cavenagh Bridge to the Asian Civilisations Museum, while Ng continues to push fungal design boundaries through his studio‑farm. Their Venice debut signals a growing global appetite for craft that is rooted in cultural identity and experimental materiality.

[View original article](https://www.straitstimes.com/life/arts/torch-ginger-paper-sculpture-mushroom-coffee-table-spore-works-debut-at-venice-craftsmanship-show)

Torch ginger paper sculpture, mushroom coffee table: S’pore works debut at Venice craftsmanship show

The Delhi Metro has turned its stations into a moving gallery, with large‑scale murals that turn the rush hour into a cultural pause.

**Barakhamba Road** features Laxman Singh Bisht’s vibrant depiction of Connaught Place and other iconic monuments, reflecting his belief that art should echo the city’s identity.

At **Shree Ram Mandir, Mayur Vihar**, a series of portrait windows captures the daily lives of Delhi’s women, using the familiar frame as a metaphor for their connection to the urban landscape.

**Arjan Garh** delights commuters with a striking blue peacock and a troupe of mischievous monkeys, injecting street‑art whimsy into the daily commute.

The **Hauz Khas** interchange juxtaposes a monochrome cityscape with bright, coloured phones, prompting reflection on our screen‑obsessed habits, while also displaying renderings of Humayun’s Tomb and Agrasen ki Baoli.

**Kashmere Gate** transports riders back to colonial‑era Delhi with a historic map and period street scenes, and **Khan Market** celebrates the city’s rich dance heritage through dynamic, colourful figures.

Collectively, these murals transform functional transit spaces into visual narratives that celebrate Delhi’s heritage, diversity and contemporary pulse.

[View original article](https://timesofindia.indiatimes.com/city/delhi/delhis-daily-commute-comes-with-a-side-of-art/articleshow/133568783.cms)

Delhi's daily commute comes with a side of art

The University Art Gallery at Sonoma State University opens two new shows, **Mere Seconds** by photographer Andrew Owen and **Insight/Incite 20/20**, a survey curated by PhotoAlliance of San Francisco. Together they use the photographic medium to probe California’s rapidly shifting landscape and the human stories woven through it.

**Mere Seconds** gathers sixteen large‑format images taken from 2020 to 2026, documenting the ecological fallout of megafires, floods and an unexpected snow‑laden Jeep in the Sierra. Owen’s work, rooted in what scholars call the “apocalyptic sublime,” balances stark devastation with moments of striking natural beauty.

**Insight/Incite 20/20** brings together twenty artists—Wesaam Al‑Badry, Binh Danh, Linda Connor, Lewis Watts, Mercedes Dorame, Zack Schomp and others—to explore themes of identity, migration, environmental change and social justice. The diverse perspectives highlight how contemporary photography can articulate both personal and collective experience.

Guest curator Chris Grunder, a Bay Area artist and SSU faculty member, links the two programs, while the **University Art Gallery**, now in its 48th year of free public exhibitions, offers a series of talks and panels that deepen the conversation about landscape, memory and community.

[View original article](https://www.pressdemocrat.com/2026/08/27/sonoma-state-photography-exhibits-explore-californias-changing-landscape/)

Sonoma State photography exhibits explore California's changing landscape

A striking 11,000‑year‑old sculpture has emerged from the depths of **Karahan Tepe**, showing a human figure astride a leopard as if it were a prehistoric mount. The limestone work stands about 70 cm tall, its bold composition a rarity in the early Holocene record.

The find adds a fresh layer to the narrative of Turkey’s ancient sanctuaries. While nearby **Göbekli Tepe** is built from stacked stones and teems with animal motifs, **Karahan Tepe** is carved directly from bedrock and increasingly populated by human forms, many of them overtly sexual. This shift hints at a cultural move toward self‑representation as communities settled.

Lead archaeologist **Necmi Karul** suggests that the surge of anthropomorphic statues reflects a growing focus on human experience once societies became more sedentary. The leopard rider, in turn, may signal a symbolic claim over the wild, turning a fierce predator into a personal conveyance.

Official statements from **Mehmet Nuri Ersoy**, Turkey’s Minister of Culture and Tourism, describe the piece as a "composite statue with a style unlike anything seen before," noting its discovery on a stone‑floored platform within a three‑metre‑diameter structure. Its preservation after eleven millennia offers a rare glimpse into Neolithic imagination.

Beyond its visual impact, the statue raises fresh questions about how early peoples envisioned power, mobility, and the relationship between humanity and the animal world. As excavations continue, scholars anticipate that more such artifacts will reshape our understanding of the continent’s earliest settled societies.

[View original article](https://www.iflscience.com/unusual-11000-year-old-statue-of-a-human-riding-a-leopard-discovered-at-karahan-tepe-one-of-humanitys-oldest-settlements-84499)

Unusual 11,000-Year-Old Statue Of A Human Riding A Leopard Discovered At Karahan Tepe, One Of Humanity’s Oldest Settlements

**VITURE** and **S‑GAME** debuted the **Phantom Beast** XR glasses at the Worlds of Play exhibition, translating the game’s kungfupunk vibe into wearable tech. The collaboration fuses traditional wuxia flair with futuristic punk, offering fans a tangible bridge between the screen and the Wulin.

The design leans heavily into the game’s blade‑forward visual language. Metal temples echo a frozen sword mid‑draw, while a detachable neck strap bears ornate martial‑arts patterning. The case resembles a triangular scabbard of black leather and crimson interior, opening like a blade being unsheathed. Collector’s packaging doubles as a display, featuring a stark portrait of the game’s protagonist and includes a miniature replica blade, art cards, stickers and a scroll‑style map for pre‑orders.

Under the stylized shell sits VITURE’s flagship optical system: a prism‑based lens paired with Sony Micro‑OLED panels delivering a 174‑inch virtual screen at 1200p per eye, 120 Hz refresh and 1,250 nits peak brightness. Spatial audio is handled by HARMAN AudioEFX, and VisionPair 3DoF tracking ensures fluid movement. Connectivity spans USB‑C, a Pro Mobile Dock for consoles, and exclusive support for the upcoming Switch 2.

As VITURE’s first partnership with a Chinese studio and its second major AAA tie‑in after a cyberpunk title, the **Phantom Beast** signals a growing confidence in XR as a stage for immersive storytelling. Priced at $599 and available for pre‑order, the glasses aim to let players step inside the narrative rather than merely watch it, hinting at a future where wearable tech and game worlds merge seamlessly.

[View original article](https://www.manilatimes.net/2026/08/28/tmt-newswire/pr-newswire/viture-and-s-game-unveil-phantom-beast-the-official-phantom-blade-zero-xr-glasses/2413644)

VITURE and S-GAME Unveil Phantom Beast -- the Official Phantom Blade Zero XR Glasses

Chief Minister **Mohan Yadav** unveiled an ambitious plan to launch an 'Ekatma Yatra' that will sweep the nation ahead of **Simhastha 2028**, aiming to broadcast India’s ancient knowledge traditions and a philosophy of oneness to a global audience.

The centerpiece of the initiative is a grand **Panchayatana** temple at Ekatma Dham on Mandhata Mountain in **Omkareshwar**. Built in the classic Nagara style, the structure will rise on a 16‑foot jagati, feature a 26‑foot wide ornate dome, 100 carved pillars, eight subsidiary spires and 121 kalash, all sculpted from pink sandstone.

The temple follows the Panchayatana tradition championed by Adi Shankaracharya, housing a central shrine to **Lord Shiva** flanked by shrines to **Lord Vishnu**, **Lord Surya**, **Lord Ganesha** and **Goddess Shakti**. This layout underscores a unifying vision that the same supreme reality is expressed through diverse divine forms.

With the yatra culminating at **Simhastha 2028**, officials anticipate that **Omkareshwar** and nearby **Ujjain** will evolve into major hubs of inner consciousness, drawing pilgrims and seekers from around the world and signaling a revival of ancient Indian architecture and spiritual culture.

[View original article](https://www.freepressjournal.in/indore/omkareshwar-ujjain-will-emerge-as-major-global-spiritual-centres-says-cm-mohan-yadav)

Omkareshwar, Ujjain Will Emerge As Major Global Spiritual Centres, Says CM Mohan Yadav

In Mersing, about 200 residents and police staff transformed 1,400 discarded mineral‑water bottles into a massive **Jalur Gemilang** sculpture at the entrance of a housing complex on Jalan Jemaluang. The project, led by the **Mersing Police**, was assembled in two days and finished on Aug 17.

The effort ties the National Month celebrations to environmental stewardship, showcasing teamwork, recycling and a bid to attract tourists to the district’s sustainable‑tourism zone.

A parallel event saw 116 police personnel and family members hike **Mount Arong**, where they raised 69 flags at the summit to mark the 69th anniversary of independence—a tradition that began in 2023. The climb promotes eco‑tourism and safe trekking practices.

Local resident Nur Ain Salleh expressed excitement about the decorations and the competition, underscoring the community spirit that fuels these patriotic projects.

[View original article](https://www.thestar.com.my/news/nation/2026/08/27/mersing-police-personnel-turn-1400-used-bottles-into-giant-jalur-gemilang)

Mersing police personnel turn 1,400 used bottles into giant Jalur Gemilang

The tragic loss of **Henry Parra** and **Adam Hlavaty** in a safari‑linked helicopter crash in Kenya was compounded by a brazen burglary at their Coral Gables residence. Within days of the crash, two suspects broke in, ransacking the home and walking away with a cache of high‑end possessions.

Among the stolen goods were a 2023 Land Rover, a 2020 Porsche Taycan, and a striking sculpture valued at roughly $500,000. The artwork, a centerpiece of the couple’s collection, highlights how personal tragedy can intersect with the shadowy world of art theft, turning a private loss into a public crime story.

Police traced pings from the stolen MacBook and Land Rover back to the neighborhood, leading to the arrest of **Geybert Alexander Garcia** and **Melany Perdomo** on multiple felony charges. A purported document granting Garcia access to the property was dismissed as a forgery, and a judge ordered both suspects held without bond.

The case underscores the vulnerability of affluent collectors and the swift, opportunistic nature of art crime. While investigators continue to probe the helicopter crash, the theft adds a stark reminder that even in mourning, valuable cultural assets can become targets for those seeking quick profit.

[View original article](https://nypost.com/2026/08/27/us-news/sick-thieves-ransack-home-of-florida-couple-killed-on-kenya-helicopter-crash/)

Sick thieves ransack home of Florida couple killed on Kenya helicopter crash

**Victor \"Marka27\" Quiñonez**’s exhibition **Ni de Aquí, Ni de Allá** opened at **University of North Texas** in February, only to be pulled after a week of student protests and national attention.\n\nThe show blended vivid canvases, a traditional botanica filled with spiritual objects, and oversized resin sculptures shaped like Mexican popsicles, channeling the artist’s immigrant background and community narratives.\n\nBecause the project is a traveling exhibition funded by BU, Quiñonez was able to relocate it. After an aborted plan with Dallas Contemporary, the **University of California, Santa Cruz**’s Center for Art and Advocacy and Institute of the Arts and Sciences stepped in to host the work.\n\nQuiñonez says his practice is rooted in lived experience—recalling his mother’s market encounters after his father’s deportation—and insists that speaking truth to power, even unapologetically, is essential to showcasing the beauty, struggle, and resilience of his community.

[View original article](https://www.dallasnews.com/arts-entertainment/visual-arts/article/art-show-unt-ice-victor-quinonez-california-22397244.php)

Provocative art show pulled from UNT this year finds a new home

Archaeologists in southeastern Turkey have uncovered a striking stone figure dating to about 11,000 years ago, depicting a human seated on a leopard. The 70‑cm high sculpture was recovered from a stone bench that lines the wall of a small circular building at the Neolithic site of **Karahantepe**.

The pose is unusual for the period; no comparable motifs have been recorded at the site before. Its placement on a bench rather than in a pit suggests a deliberate display, perhaps linked to ritual or symbolic functions within the community.

The find adds to a growing body of evidence that early settled groups in the region possessed sophisticated artistic and architectural traditions long before the rise of cities. Together with other large structures and artworks from **Karahantepe**, the sculpture hints at complex social and ceremonial practices.

While the exact meaning remains elusive, scholars such as **Mehmet Nuri Ersoy**, Turkey’s Culture and Tourism Minister, note that the piece could open new questions about the symbolic world of the world’s earliest agricultural societies.

[View original article](https://timesofindia.indiatimes.com/world/rest-of-world/11000-year-old-sculpture-of-human-seated-on-leopard-found-on-a-stone-bench-at-karahantepe-in-trkiye-reveals-unique-neolithic-art/articleshow/133557423.cms)

11,000-year-old sculpture of human seated on leopard found on a stone bench at Karahantepe in Türkiye reveals unique Neolithic art

**Yayoi Kusama** emerged from Matsumoto, Japan, to become one of the most recognizable figures in contemporary art.  Her obsessive use of polka dots, pumpkins and endless nets transformed painting, sculpture and installation into immersive experiences that resonated worldwide.  She worked until her final days, passing away at the age of 97.

In the late 1950s she relocated to New York, where the city’s experimental scene embraced her daring performances.  The 1960s “happenings” featured nude participants painted with vivid dots, a radical gesture that earned her the nickname “Queen of Happenings” and positioned her at the forefront of avant‑garde practice.

Kusama’s signature motifs—repeating dots, mirrored infinity rooms and decorated pumpkins—originated from childhood hallucinations and a lifelong fascination with repetition.  These elements turned personal anxiety into a universal visual language, inviting viewers to lose themselves in a field of endless pattern.

International institutions later celebrated her contributions: she represented Japan at the **Venice Biennale**, received the **Order of Culture**, and her work fetched record prices, notably **Untitled (Nets)** selling for over $10 million.  Her influence continues to shape generations of artists who explore immersion, repetition and the boundary between mind and matter.

[View original article](https://economictimes.indiatimes.com/us/news/who-was-yayoi-kusama-japanese-polka-dot-queen-who-challenged-art-with-nude-happenings-dies-at-97-her-painting-untitled-nets-fetched-nearly-10-5-million-at-auction/articleshow/133556916.cms)

Who was Yayoi Kusama? Japanese 'Polka-Dot Queen' who challenged art with nude happenings dies at 97; Her painting 'Untitled (Nets)' fetched nearly $10.5 million at auction

Yayoi Kusama, the Japanese artist whose obsessive polka dots transformed canvases, sculptures and entire rooms, passed away at 97 in Tokyo. Her relentless drive to cover the world in spots made her one of the most recognizable figures in contemporary art.

Born in a middle‑class family, Kusama experienced vivid hallucinations of a dotted universe from childhood. After a stint in psychiatric institutions, she fled to New York in 1957, entering a scene dominated by action painting yet refusing to abandon her own motif. Poverty and obscurity could not deter her; she kept painting, drawing circles on bodies and even a horse in anti‑war happenings.

The dot became her language. Works such as **Mirrored Corridor**, **The Visionary Flowers** and the endlessly repeating installations at **Museum of Modern Art** and the **Whitney Museum of American Art** invite viewers into immersive, psychedelic environments. Critics have labeled her pop, avant‑garde and feminist, but Kusama herself dismissed such categories as limiting.

In later years her influence spilled into fashion and design, with collaborations for Louis Vuitton and a flood of merchandise bearing her signature pattern. A 2008 Christie’s sale fetched $5.8 million, and in 2016 she received Japan’s highest cultural honor, the Order of Culture, underscoring her status as a national treasure.

Even in her final months Kusama kept a brush in hand, insisting she would create “a thousand paintings, maybe two thousand.” Her fearless commitment to a singular vision continues to inspire artists and audiences worldwide, proving that a world of dots can indeed illuminate the human condition.

[View original article](https://www.koreatimes.co.kr/world/20260827/yayoi-kusama-who-splashed-polka-dots-across-art-world-dies-at-97-in-tokyo)

Yayoi Kusama, who splashed polka dots across art world, dies at 97 in Tokyo

The University of Massachusetts Amherst Fine Arts Center kicks off its fall season with a dynamic slate of installations that probe identity, history, landscape and place.

At the University Museum of Contemporary Art three new shows run from Sept 15 to Dec 13. **Athena LaTocha: Buried Heat** presents large sculptures and works on paper rooted in landscape research. **Dianne Smith: Sonic Futures, Radiant Bodies** blends photography, film and sculpture to celebrate Black women’s knowledge, beauty and creativity. **Between Earth and Sky: Artists in Dialogue with the Land** draws from the museum’s permanent collection to examine artistic responses to the American terrain.

The Hampden Gallery opens two shows on Sept 8. **Ghosts, Echoes, and Other Wonders** by Anita S. Hunt offers four decades of printmaking inspired by New England ecosystems. **De Natura Libris** by Álvaro Alejandro López uses digital photographs to explore books as physical objects and personal experiences.

The Augusta Savage Gallery presents **Surveying Gravity: A Mirror for Growing Contradictions** on Sept 4, a site‑specific installation by Justin Randolph Thompson that reconstructs his grandfather Randolph W. Bromery’s unfinished basement to reflect on legacy.

Complementing the program, the center has restored Robert Murray’s 18‑foot steel and aluminum sculpture **Quinnipiac**, a landmark piece installed in 1975 that greets visitors at the Randolph W. Bromery Center for the Arts.

[View original article](https://www.masslive.com/westernmass/2026/08/new-exhibitions-restored-artwork-highlight-fall-season-at-umass.html)

New exhibitions, restored artwork highlight fall season at UMass

An eye‑catching red barn dominates the roundabout at Highbury Avenue and Ron McNeil Line, its fragmented form seeming to fall apart and re‑assemble as drivers pass. The sculpture, titled **Fading Memories**, instantly signals a pause in the flow of traffic and invites a moment of reflection on the region’s agricultural heritage.

The piece was conceived by **SHIFT Landscape Architecture** and fabricated by Lafontaine Iron Werks. Built within a $250,000 budget at a cost of $220,640, the barn is divided into sections of varying openness, so its appearance shifts depending on the angle of approach. Landscape architect Mike Barker says the work ‘draws attention to barns and hopes to stand as a monument as more are lost through development,’ echoing his own memories of working barns.

The installation has earned **Gold certification** in the Art and Photography category of the 19th **Grands Prix du Design** competition, a Montreal‑based awards program that celebrates excellence in architecture, landscape design, art and photography. With jury scores between 80 and 100, the project is now a finalist for the competition’s Grand Winner title, underscoring the growing value placed on public art that tells stories of past, present and future.

[View original article](https://lfpress.com/news/st-thomas-eye-catching-red-barn-wins-international-design-awards)

St. Thomas’ eye-catching red barn wins international design awards

On a crisp Wednesday, the **KT Kala Museum** opened its doors to a hands‑on celebration of the Chamba Rumal, a centuries‑old hand‑embroidered handkerchief that carries deep cultural and spiritual roots in the Himalayas.

The highlight was a live demonstration of the **Dorukha** (double‑stitch) technique by artist‑researcher **Reena Devi**. This method stitches both sides of the fabric simultaneously, creating a mirror‑image finish that resembles a miniature painting and has earned the craft a Geographical Indication tag.

Devi emphasized the technique’s sustainability: it uses natural‑fiber threads, organic dyes, and generates zero waste, aligning with slow‑fashion values and supporting women‑led creative enterprises. Students in the three‑hour, free workshop learned the precise spatial planning required to produce identical stories on each side of the cloth.

More than 70 participants left with a deeper appreciation for the craft, echoing the sentiment of art critic **Brajesh Jolly**, who urged senior artists to pass these historically significant skills to younger generations.

[View original article](https://www.tribuneindia.com/news/amritsar/chamba-rumal-tells-tale-of-magic-weaved-in-himalayas/)

Chamba Rumal tells tale of magic weaved in Himalayas

In March 2026 three Perth creatives turned a long‑vacant Railway Road building into **SAVA Gallery**, a bold, artist‑run space that fuses fine art, graffiti, street and tattoo aesthetics.

Since opening the venue has mounted a show each month, sold out three opening nights, and now houses two galleries, studios, mural walls and an event area. They also produce murals, a collaborative clothing line, and a documentary of the gallery’s first year.

The latest show, **Common Thief** by muralist **Jordan Rush**, runs until early September and has already seen most works snapped up. Soon the gallery will host **Taking Full Control (TFC)**, Perth’s longest‑standing graffiti crew, with eighteen artists presenting work spanning the 80s to today, marking the crew’s 39‑year legacy.

The founders, **Zac Cawdron**, **Nelson Mondlane**, and **Ryan Christopher Fernandez**, began with pop‑up shows and a 2024 book, **SAVA: Art on Canvas and Walls**, and now support over 200 emerging and established artists who often feel sidelined by mainstream galleries. Their community projects include a rotating youth exhibition at RAC Arena and the **Passing By** installation that invites commuters to pause and listen.

Situated in a heritage‑listed building revitalised through a City of Subiaco and Sparemarkt partnership, **SAVA Gallery** is quickly becoming a vital creative hub that celebrates Perth’s street culture while fostering new talent.

[View original article](https://www.perthnow.com.au/entertainment/art/sava-gallery-new-gallery-marks-a-milestone-with-first-group-exhibition-by-longest-lasting-perth-graffiti-crew-c-22759106)

SAVA Gallery: New gallery marks a milestone with first group exhibition by longest-lasting Perth graffiti crew

Art of the Concept, a pop‑up gallery housed in the North Gallery of George Brown Polytechnic, offers visitors a chance to walk through the visual worlds behind Toronto’s indie game scene. Curated by illustrator and art director **Gavin McCarthy**, the show launched during Toronto Games Week and has been kept open through August and into September, inviting anyone to drop in without charge.

The exhibition pairs key concept art and illustrations with short gameplay clips playing on adjacent screens. Nine titles are on display, including **Ambrosia Sky**, **Astronomics**, **Below**, **The Big Con**, **Capy Castaway**, **Curse of Resthaven**, **DuneCrawl**, **Echo Generation**, and **Neo Harbor Rescue Squad**. Each station provides background on the studio and the creative process, giving a snapshot of the city’s diverse development talent.

Reception has been enthusiastic, with a lively opening reception and steady foot traffic from students, families, and industry folks. By situating the showcase in an accessible college space, the project demonstrates how grassroots initiatives can amplify local creators and encourage broader public appreciation for Canada’s burgeoning game industry.

[View original article](https://mobilesyrup.com/2026/08/26/toronto-art-of-the-concept-local-indie-games-spotlight/)

This free Toronto art gallery spotlights some awesome local indie games

From August 21, the gallery in Chandigarh presents *Four Flames, Four Flavours*, an exhibition that gathers four mid‑career Indian artists—**Gurmeet Marwah**, **Shubhra Das**, **Kamar Alam** and **Chaitali Chanda**—to explore the element of fire in four languages. The title translates the word \"flame\" into English, Hindi, Urdu and Punjabi, underscoring the show’s premise that light, like art, belongs to many tongues.

Each artist brings a distinct practice: Marwah’s sculptural forms, Das’s lyrical canvases, Alam’s satirical installations, and Chanda’s vibrant abstractions. Together they move from silence to satire, contemplation to celebration, demonstrating how a single elemental force can be refracted through diverse visual vocabularies.

Curator **Mehak Bhan** frames the project as a dialogue rather than a unified style, emphasizing that the artists’ \"shining presence\" in contemporary Indian art connects them despite differences in medium, geography or generation. The show also includes Bhan’s debut installation alongside 38 works, offering visitors a layered experience of light, language and perception.

The exhibition invites audiences to consider how art can cast a single light on many facets of life in India—its cultures, its histories, and the act of seeing itself.

[View original article](https://timesofindia.indiatimes.com/city/an-art-exhibition-in-city-of-four-distinctive-voices-in-contemporary-art/articleshow/133542649.cms)

An art exhibition in city from four distinctive voices in contemporary art

The 61st International Art Exhibition of the **Venice Biennale**, titled *In Minor Keys* and curated in the spirit of the late Koyo Kouoh, runs from 9 May to 22 November 2026, gathering artists, curators and cultural institutions from around the world.

The India Pavilion, named *Geographies of Distance: Remembering Home*, showcases works by five contemporary Indian artists who investigate notions of home, identity and empowerment, weaving traditional techniques with modern concerns.

Former UK Prime Minister **Rishi Sunak** and his wife **Akshata Murty** toured the pavilion, underscoring the diplomatic and cultural resonance of the event as they engaged with the artworks and the curatorial narrative.

Since its founding in 1895, the Biennale has remained a premier stage for experimental art across venues such as the Giardini and Arsenale, attracting collectors, critics and visitors worldwide. The Indian Ministry of Culture has invited the public to experience this vibrant showcase of contemporary Indian creativity.

[View original article](https://www.freepressjournal.in/lifestyle/former-uk-pm-rishi-sunak-visits-india-pavilion-at-the-ongoing-61st-la-biennale-di-venezia-at-venice-with-his-wife-what-is-the-event-about)

Former UK PM Rishi Sunak Visits India Pavilion At The Ongoing 61st La Biennale Di Venezia At Venice With His Wife; What Is The Event About?

The **Underwater Museum of Art** (UMA) sits 58 feet below the Gulf’s surface, just under a mile off **Grayton Beach State Park**. It is the United States’ first permanent underwater sculpture garden, turning a stretch of sand‑filled seafloor into a submerged exhibition space where art and marine life intertwine.

Born from a partnership between the Cultural Arts Alliance of Walton County and the South Walton Artificial Reef Association in 2018, UMA was conceived as a bold experiment in merging artistic expression with ecological stewardship. Each sculpture is engineered to withstand salty currents while providing refuge for fish, turtles, and invertebrates, effectively creating a thriving artificial reef.

The installations range from whimsical to monumental. A giant guitar titled **“A Common Chord”** celebrates humanity’s bond with nature, while **“Poseidon’s Throne”** offers both a regal seat and a haven for marine organisms. Other pieces—such as a genie‑lamp sculpture called **“Three Wishes,”** a massive octopus, a skull, and even a pirate‑ship wreck—populate the seafloor like a sunken fantasy.

Since its debut, more than a hundred species of fish, coral, and plants have made the sculptures home, attracting dolphins, sea turtles, and curious divers alike. Researchers use the site as a living laboratory to track how artificial structures evolve into functional habitats, offering valuable data on reef restoration.

Visiting UMA is a free, dive‑only experience that rewards certified scuba enthusiasts with a unique blend of art, adventure, and science. Each descent reveals a gallery that changes with the tide—human‑crafted forms slowly reclaimed by the ocean, reminding us that art can be as alive as the ecosystems it inhabits.

[View original article](https://timesofindia.indiatimes.com/world/us/in-2018-florida-opened-americas-first-permanent-underwater-sculpture-garden-58-feet-below-the-gulf-it-has-grown-into-a-living-reef-where-more-than-100-species-have-been-documented/articleshow/133539343.cms)

In 2018, Florida opened America’s first permanent underwater sculpture garden 58 feet below the Gulf; it has grown into a living reef where more than 100 species have been documented

The Scottish Rural Art Gallery opened its doors in 2005 within the Bruar complex, fulfilling a long‑held dream of its founder, a former Christie’s porter. Nestled among the Highland shops, the space presents paintings, sculpture, antique furniture and silver that celebrate Scotland’s rugged landscapes and wildlife.

While the gallery leans toward representational work, the range of media is surprisingly wide. **Sam MacDonald**’s sculptural fish, for example, are rendered with such realism that a casual glance catches the detail, yet a closer look reveals a subtle commentary on humanity’s impact on the undersea world.

Visitors are less traditional collectors than lovers of the Scottish countryside, arriving from places as far as Texas and Tokyo to take home a visual memory. They respond to pieces that combine beauty, technical mastery and a sense of lived experience – a trend that has recently seen larger, higher‑valued works such as an enormous triptych find eager buyers abroad.

Beyond sales, the gallery functions as a cultural hub for rural‑affairs enthusiasts. Lectures like **Owen Williams**’ discussion of woodcock migration draw audiences who might otherwise never step into an art space, proving that visual art can spark conversation about environment and conservation.

Digital platforms serve primarily as a polished shop window. The website allows potential buyers to research and preview works, but the decisive moment remains a physical visit, where the texture and scale of a piece can be truly appreciated.

The gallery’s artist programme blends emerging talent with established names. When the independent **Red Dot Group** lost its venue, the founder offered the space, and those artists have since become pillars of the collection. Today, newcomers such as **Jenna Gearing** with her striking bronzes and **Katie Hargreaves**’ delicate chalk and charcoal pieces share walls with veterans like **Rodger McPhail**, creator of the iconic Famous Grouse label, and **Ian MacGillivray**, whose encyclopedic knowledge of the landscape informs his work.

A common misconception is that art galleries are exclusive spaces. In practice, the Bruar location attracts accidental visitors who wander in while shopping, often leaving with a newfound curiosity – children pointing out hidden details in **Richard Whittlestone**’s oils, or adults marveling at **Angus Clyne**’s massive wooden vessels. That serendipitous encounter is the gallery’s greatest success.

[View original article](https://www.heraldscotland.com/life_style/26487979.scottish-rural-art-gallery-house-bruar-need-know/)

The Scottish Rural Art Gallery, at House Of Bruar: Need to know

The coming weekend bursts with a lively mix of music, visual art, and classic small‑town celebration across Lee County.

**Depot Days** at the historic Amboy depot transforms the town into a summer fairground from Aug. 27‑30, featuring a carnival, live bands, a car show, craft vendors, and a parade that draws families and enthusiasts alike.

In Dixon, the historic theatre stages two tribute concerts: Friday’s **Breakfast in America** honors the 1970s supergroup Supertramp, while Saturday’s **Dear Amy** celebrates the soulful legacy of Amy Winehouse. Both promise nostalgic performances for music lovers.

Rock Falls turns its RB&W District Park into an outdoor gallery on Saturday, Aug. 29, with the **Art in the Park Sculpture Walk** unveiling eight new public sculptures. The event also showcases works from 25 regional artists, turning the park into a vibrant visual experience.

The final act of the 2026 **Music at the Square** series arrives Friday evening as Lucas Pauley plays a free set at John Dixon Park, wrapping up the summer concert series on a high note.

Art enthusiasts can also attend the opening reception for **All the World’s a Stage** at The Next Picture Show on Friday, Aug. 28, a new exhibition that runs through mid‑September and highlights contemporary perspectives on performance and space.

[View original article](https://www.shawlocal.com/thescene/2026/08/26/5-things-to-do-amboy-depot-days-art-in-the-park-sculpture-walk-in-rock-falls-this-weekend/)

5 Things to Do: Amboy Depot Days, Art in the Park Sculpture Walk in Rock Falls this weekend

**Pause, Renderings and Quiet Blooms** unfolded at **Travancore Palace** in Delhi, offering a quiet yet vibrant meditation on nature, memory and the act of wearing art. Curated around the work of Gurgaon‑based artist **Maneesha Sharma**, the show transforms the traditional sari into a sprawling six‑yard canvas that invites viewers to linger.

Sharma’s pieces are stitched, painted and embroidered with observations gathered from her daily life – the burst of flowers on her terrace, walks along the **Aravalli Hills**, a tranquil lotus pond, and the rhythmic hand‑loom work of West Bengal artisans. Each textile captures a specific moment, rendered in colour, thread and texture that echo the landscape that inspired it.

Personal diaries and poetic doodles find a new home on cloth, as scribbled notes, sketches and verses are transposed into vibrant prints and delicate threadwork. Spiritual and literary currents such as **Ek Onkaar**, the chants of **Ram Dhun**, and the verses of **Kabir** flow through the compositions, giving the garments a lyrical depth.

By treating the sari as both garment and gallery, the exhibition blurs the line between fashion and fine art, encouraging a pause to observe, feel and remember. The result is an intimate, introspective experience that celebrates the quiet power of everyday beauty.

[View original article](https://timesofindia.indiatimes.com/city/delhi/wearable-art-exhibition-explores-nature-memory-and-introspection/articleshow/133538455.cms)

Wearable art exhibition explores nature, memory and introspection

An impressive butter sculpture took center stage at the **New York State Fair** this year, marking the United States' 250th birthday. Crafted by a team of dairy artisans, the massive figure—standing over six feet tall—depicts a collage of iconic American symbols, from the Liberty Bell to a soaring bald eagle, all rendered in gleaming, golden butter.

The choice of butter harks back to the fair’s long‑standing tradition of edible art, but this year the medium is pushed to new heights. Intricate details such as the texture of the flag’s fabric and the sheen of a sunrise over the Hudson are achieved through careful temperature control and a blend of salted and unsalted butter, giving the piece both stability and a subtle flavor that lingers in the exhibition hall.

Visitors have responded with a mix of awe and nostalgia, snapping photos and sharing the work on social media as a reminder of the nation’s journey. By turning a humble kitchen staple into a monumental tribute, the sculpture encapsulates both the ingenuity and the communal spirit that have defined American celebrations for a quarter‑century.

[View original article](https://auburnpub.com/news/local/article_aaadba87-e736-4534-a04c-2437564b084f.html)

NYS Fair 2026 butter sculpture celebrates America 250

The stone‑sheltered gallery at **Alchi**, a short walk from the famed medieval monastery, greets visitors with a shelf of dark boulders overlooking the Indus. Roughly 250 smooth rocks bear incised animals, human figures, abstract symbols and Tibetan script, their white lines stark against the obsidian sheen. A modest sign dates the oldest carvings to the Bronze Age, while later inscriptions push the story into the medieval period.

These petroglyphs form part of a vast network across **Ladakh**, from the high plateaus of Changthang to the valleys of Nubra. Motifs range from ibexes, snow‑leopard‑like felines and hunting scenes to stepped architectural forms and enigmatic swastikas. Scholars have grouped the imagery into local and “steppic” styles, noting parallels with Bronze‑Age Zhou bronzes and Saka animal art that once roamed the Eurasian steppe.

Systematic study began only in the late 19th century, but it was the 1970s surveys by **David Snellgrove**, **Tadeusz Skorupski** and later work by **Tashi Ldawa Tshangspa** and **John Vincent Bellezza** that mapped the site in detail. Their analyses suggest the dark purplish patina of the rocks was deliberately chosen, and that future varnish‑re‑patination studies may yield a chronometric dating method.

Today the petroglyphs face threats from development and climate change. The **Rock Art Resource Centre** in Leh, together with local authorities, has secured a conservation park at Sindhu Ghat and is relocating vulnerable stones for safekeeping. As the river below continues its timeless flow, the ancient carvings remain a dialogue between past artists and present viewers, inviting us to glimpse the imagination of peoples who once roamed these high‑altitude deserts.

[View original article](https://scroll.in/magazine/1095240/in-ladakh-an-ancient-art-gallery-is-hiding-in-plain-sight)

In Ladakh, an ancient art gallery is hiding in plain sight

The **Alfred East Art Gallery** in Kettering is set to welcome visitors again after a five‑year hiatus, unveiling a temporary show called **Prelude** in its new Garden Room extension.

The exhibition brings together works by six local artists—Charlotte Ashman, Samantha Brockway, Serena Durgheu, Rosie Jarvis, Simon Loach and Teresa Williams—spanning painting, printmaking, collage and photography, offering a snapshot of the town’s creative pulse.

Part of the **Cornerstone** cultural hub, the gallery has undergone extensive redevelopment and roof repairs, with a £4.8 million investment restoring its Grade II‑listed building. The council hopes the flexible new space will host exhibitions, workshops and community events.

Opening runs from 5 September to 2 October, timed to lead into the full reopening on Northamptonshire Day, marking an exciting moment for both the gallery team and local residents.

[View original article](https://www.bbc.com/news/articles/c70ljn1rvwgo)

Kettering's Alfred East Art Gallery set to welcome visitors again

The 7‑metre tall **Boonji Spaceman**—a carbon‑fibre and steel figure created by US artist **Brendan Murphy**—has become a striking landmark since its debut in May 2025. Its futuristic silhouette and graffiti‑covered surface have drawn thousands of onlookers to the garden setting where it first stood.

Originally installed in **Stirling Gardens**, the work was positioned near Council House to echo Perth’s “City of Light” heritage, recalling the 1962 John Glenn orbital flight that inspired locals to flood the sky with lights.

City officials have now approved a permanent relocation to **Elizabeth Quay**, a riverside precinct that anchors the central business district and already hosts a vibrant public‑art collection. The move, slated for 2027, will give the sculpture a high‑visibility waterfront backdrop.

Transporting the 1,365 kg piece from Miami required a year‑long engineering effort and a $250,000 budget for safe shipment and installation, underscoring the city’s commitment to the gift.

The decision sparked controversy among some residents, who rallied under a “savethekebab” banner to protect the historic **Ore Obelisk** that currently occupies the site. Council responded by retaining the obelisk within the city’s cultural holdings and planning a commemorative display inside Council House.

[View original article](https://www.perthnow.com.au/wa/perth/central/revealed-iconic-location-revealed-as-home-for-7m-tall-graffiti-covered-spaceman-to-touch-down-in-2027-c-22778236)

REVEALED: Iconic location revealed as home for 7m tall graffiti covered Spaceman to touch down in 2027

**Dylan Cease**, the ace right‑hander for the **Toronto Blue Jays**, surprised the sports world by stepping onto the walls of the **Art Gallery of Ontario**. The gallery opened its doors to his vibrant canvas titled *Eve of Toronto*, a piece the pitcher completed over two weeks of spring‑training and that now hangs alongside limited‑edition prints, postcards and apparel.

A line of roughly three hundred fans queued outside the museum, snapping selfies and waiting for autographs as Cease signed copies of the work. Gallery staff noted the buzz, describing the scene as “mind‑blowing” for a player whose primary arena is usually a baseball diamond.

Cease is a self‑taught artist who only began painting four years ago, opting for bold, abstract colour fields rather than detailed drawing. He likens the freedom of the brush to the strict structure of baseball, saying the studio lets him “visualize something and just throw paint together.” The piece radiates warmth and energy, qualities his teammates have praised.

All proceeds from the merchandise and a recent $16,000 sale of another painting are being donated to the gallery’s educational mission and the Jays Care foundation. Beyond the canvas, Cease tends to a beehive with his father and continues to experiment in a makeshift studio at Rogers Centre, proving that his creative drive extends well beyond the mound.

[View original article](https://www.theglobeandmail.com/sports/article-blue-jays-dylan-cease-painting-showcased-at-art-gallery-of-ontario/)

Blue Jays’ ace Dylan Cease has painting showcased at Art Gallery of Ontario

**Dylan Cease**, the Toronto Blue Jays ace, has stepped beyond the mound to become a featured artist at the **Art Gallery of Ontario**. The gallery’s shop rolled out a limited‑edition collection of his paintings—prints, postcards, apparel and tote bags— with proceeds earmarked for the institution’s charitable work.

A former theatre enthusiast rather than a trained art student, Cease only began painting in 2022. His acrylic homage to Toronto now hangs in **Walker Court** and even decorates manager John Schneider’s office, drawing a line of fans that stretched two blocks on opening day.

The work is unapologetically abstract; Cease admits his drawing skills are modest, so he leans into bold color and texture. He describes the studio as a soothing counterbalance to baseball’s “war‑like” intensity, a space where “imperfection is fine” and the act of creation simply feels good.

The partnership underscores a growing dialogue between sport and culture, offering fans a tangible way to support the arts while celebrating an athlete’s off‑field passion.

[View original article](https://www.cp24.com/news/sports/2026/08/25/blue-jays-ace-cease-has-artwork-retail-collection-launched-at-art-gallery-of-ontario/)

Blue Jays pitcher Dylan Cease, AGO partner to showcase his artwork

**58th Annual Butter Sculpture** returns to the New York State Fair, turning roughly 800 pounds of butter into a vivid tableau of New York‑styled Americana. The piece, titled Milk Memories Tradition Rooted in New York, weaves together baseball, ice cream, fireworks, the city skyline and the state’s dairy heritage.

Artists Jim Victor and Marie Pelton spent eleven days carving the scenes, adding color for the fifth year in a row to give depth to the miniature Cooperstown field, a smiling farmer with her cow, children with cones, and the iconic Empire State Building. The work is displayed in a refrigerated case inside the Dairy Products Building, drawing crowds who pause to admire the blend of food and fine art.

Beyond its visual appeal, the sculpture serves a sustainable purpose. After the fair the butter will travel to Noblehurst Farms where it is fed into an anaerobic digester, turning the dairy into renewable energy and keeping thousands of pounds out of landfills.

Sponsored by Wegmans and supported by the American Dairy Association North East, the installation underscores how dairy remains woven into everyday celebrations—from a slice of pizza to a summer scoop—while honoring six decades of fair tradition.

[View original article](https://www.manilatimes.net/2026/08/26/tmt-newswire/globenewswire/58th-annual-new-york-state-fair-butter-sculpture-celebrates-250-years-of-american-traditions-new-york-style/2412066)