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The Spider and The Fly (2020) by Macauley Norman

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October 9, 2024

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Hilary Pecis Sharon Flowers (2024), acrylic on linen painting depicting a bright yellow brick storefront with an open flower shop entrance, colorful floral displays, and a bold “Flowers” sign above the door

Art

Hilary Pecis — Sharon Flowers, (2024) Acrylic on Linen

March 19, 2026

There is a particular cadence to the paintings of Hilary Pecis—one that does not rush to announce itself but instead settles into the eye with a kind of lived familiarity. In Sharon Flowers (2024), Pecis continues her exploration of domestic interiors, urban observation, and the visual flow of everyday objects, delivering a composition that feels […]

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Lorenzo Quinn sculpture of oversized white hands holding a tree placed in the courtyard of Rosewood London, blending contemporary art with historic architecture

Art

London’s Hotels and the Subtle Rise of In-House Art Collections

March 18, 2026

In London, the hotel is no longer just a place to stay—it is an experience, a curated encounter with culture that begins the moment one crosses the threshold. The city, long regarded as one of the world’s foremost art capitals, has extended its cultural footprint into its hospitality spaces, transforming lobbies, corridors, suites, and even […]

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Wide-format mixed-media artwork by Theaster Gates featuring a horizontal composition of black-and-white vintage imagery, including a woman in a hat on the right, a central diagonal structural element, and a candid indoor scene with figures on the left, all printed on a weathered, textured surface mounted as a long panel

Art

Theaster Gates, She Never Leaves Her Purse (2025) — Industrial Materials, Refined Surface

March 18, 2026

There is a particular density to the work of Theaster Gates—not simply visual, but historical, social, and material. In She Never Leaves Her Purse (2025), that density becomes tactile, almost architectural. Composed of industrial oil-based enamel, rubber torch-down roofing material, bitumen, and steel, the work resists the conventions of painting even as it inhabits them. […]

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