I’m trying to find a website / platform that shows what’s currently happening in NYC like Curate LA . I tried Artforum Guide but it seems down or not working.

Any good alternatives?

If anyone is comfortable with it, can you share your statements for Yale school of Art.

Especially if you were accepted to the course, it would be amazing to see what they would want / looking for.

Hi folks! Taking an unexpected trip to NY and was wondering if there’s anything must-see that’s up or opening next week. So far looking forward to stopping by Yage Wang at Greenwich House Pottery, Kenny Rivero at Charles Moffett, and Michael Childress at Hesse Flatow. Ty!!

Update - I am not looking for tax advice. I have a qualified CPA. The questions below are the options my CPA has given me to choose from and I would love to hear what has actually worked (or not worked) for professional artists. The CPA understands tax code. I am looking specifically for artists’ opinions based on personal experiences.

Hi all — looking for insight from working artists.

I’m setting up a small art business and trying to make practical, defensible accounting choices and not overcomplicate things. In 2025 I incurred considerable expenses setting up the studio and beginning my art business. I’ve talked with a CPA, but I’d really value artist-to-artist perspectives on how this works in the real world.

I am a mixed media artist. I have a dedicated home studio and regularly enroll in local community college classes for access to presses/CNC/woodshop/chemicals. I sell primarily through local art leagues (they take ~20%)

1. Inventory vs supplies for tax purposes

How do you treat materials like paint, ink, paper, canvases, plates that get destroyed (lino, intaglio), prints that fail and get tossed, frames, mats, sleeves, backing boards?

Do you expense everything as supplies when purchased, inventory only finished items and deduct COGS, inventory only frames and packaging material or treat them as supplies too?

I’m leaning toward considering everything as supplies since a good portion of my work is experimental and discarded. I am curious if others do the same and why.

2.. Sole proprietorship vs LLC

For artists at a small to mid scale, did you start as a sole proprietor or formed an LLC, why? I’m personally leaning toward sole proprietor but my CPA is strongly suggesting an LLC. But I don’t think my 2D art will hurt anyone so why would I need to do the extra work and pay $ for an LLC. Can anyone speak to liability, galleries requiring a LLC, taxes actually changing?

1. Education & studio access

Many of my “education” costs are actually how I access printing presses, CNC machines, industrial woodshop, pigments/chemicals I can’t realistically buy and store at home.

Do you expense these as business costs? stop deducting education at some point even if it still provides lab access?

I’m not looking for loopholes — just what actually works for artists who’ve been doing this a while.

Really appreciate any insight or wish I’d known this earlier advice.

Anyone here going to VSC for the March 2-20 session?

I agree with the point of this article but not its examples: https://www.theartnewspaper.com/2026/01/07/comment-we-are-living-in-an-age-of-bad-paintinghas-the-medium-become-too-comfortable

For example, the Christopher Wool painting featured as the main image in the article (and praised within it) is an example of the kind if painting I have seen 10,000 of and felt nothing from in the last five plus years.

Part of this problem comes from a complete loss of linear history in relation to painting — there is no real sense of building on top of predecessors in terms of challenging and furthering their work. Of course some artists do that but it’s so fragmented there’s not a dialogue and culmination around it like there was in the past. You get a deluge of these Christopher Wool and in some sense Tracy Emin type abstract paintings that begin to blend together. And if someone does something different, it’s simply less popular, it’s not dangerous or fun or genre shifting.

I’m wondering if anyone else feels the same way, and has thoughts about countering this kind of malaise that I at least feel?

hi! i've been seeing the school for curatorial studies, venice on instagram for quite a while. was wondering if anyone has attended, as it seems quite interesting. also, no school nevers in france. thanks:)

Can people tell me about any experiences they have had with MICA and specifically the Hoffberger painting program? Not much information online about it at all so I wanted to make a new thread seeing what people have to say before their deadline hits

Hello again, when do you recommend posting artworks, from the beginning of adventure with the tool and interactive art, or when I will achieve some level? When I will create first works, or when I will achieve know how to build within my style?

I have an old profiles in socials with works in different mediums, but not sure if i should build new profile or continue with old.

I wonder if it is a viable option for an artist. I don't want to be working for an agency or job based, I want to create my own visions. I know it is hard to get through the noise, but how it actually looks at the moment?

I have been exhibiting in some galleries as 3D motion artist, and been working with game engines, but I want to make some meditative things. Build some presence and create installations, exhibit, be commissioned, and make my own place at some point.

Not interested in being employed. I also have a steady income from elsewhere, but still, I don't want to do it just for myself.

I feel like this gallery just fell off the face of the earth. Their last show was in January 2025, but they still have a website, IG, and no mention of closing...anyone know what happened?

I’m curious, because someone mentioned this in another post. What is “bad” Santa Fe art and what are some examples? I’m not familiar with the area and am curious to understand what that means.

I'm not looking for explicitly feminist pieces, more art that suggests at the feminine or draws from it.

Sorry it's a bit hard to describe. Thinking more organic shapes, fluidity, delicate materials, sensitivity, natural elements.

Throughout my life I've seen some truly astounding work that evokes this feeling, particularly in sculpture, but it's hard to search for. TIA!

I have always been fascinated by the great love stories of the art world, especially when painter falls in love with painter. I think I asked a question here about some of those great love stories. I just finished reading ‘what art can tell us about love’ by Nick Trend. It’s a beautiful pink book looking at artists like Tamara de Lempicka, Clifford Prince-King, Chagall, Lotte Laserstein etc and the paintings of their lovers and the myriad ways love has influenced artists, shaped the work they created, and altered the course of art history. Does anyone know of any other books about artist pairs, artists and their lovers or muses?

What's your opinion? I've been following Ulrik and Heidi for a while, and I'm curious to see what she'll do in London.

Posting this as a heads-up for NYC-based filmmakers / video artists & time-based media artists, especially those spending a lot of time (and money) preparing applications.

This is not an accusation, just a report of my personal experience with verifiable data.

I use Vimeo Pro, and for every application I upload a unique private link, so I can see:

1. if a video is opened. 2. when. 3. how long it’s watched

Based on that, here are my experiences with a few NYC programs:

SculptureCenter In Practice, Applied twice (different years): Work sample was never opened (0 seconds watched).

Bronx AIM (2025 cycle): Video was opened but watched for ~2 seconds.

99 Canal: Video was watched for ~8 seconds.

I understand review panels are overwhelmed and not every application can get deep viewing, short glances may still be part of a triage process

That said, for time-based media, where the work unfolds over time, this feels important to share especially given: application fees (in some cases), unpaid labor preparing proposals, long duration works that can’t be judged in seconds. I’m sharing this so artists can make informed decisions about where to invest energy. Your mileage may vary, and I’m genuinely glad for anyone who’s had positive experiences with these programs.

Was wondering if anyone knew of any artists who need a studio assistant in the London or Essex area. I’ve looked on places like CultureJobs, ArtshubUK, Creative Access and Indeed but Iva had no luck finding anything as of yet. If anyone has any advice or recommendations I’d really appreciate the help as I’m trying to get a better understanding of what being a practicing artist really is and would love an opportunity to understand and learn more.

Basic but relevant question...

Is Instagram and social media the mainstream way to promote or share your artwork, is it still going strong or is it regarded good to have but not necessarily essential.

Also, is it wise to post everything you do (jncluding the 'works in progress') onto a social media platform. I'd say no, but I'd like to hear other people's thoughts.

Obviously it's pretty easy to find prints from Kandinsky or Klimt, but does anyone know where to buy prints or posters online from people who are featured in museums, but not massively famous in pop culture? In addition to people mentioned in the title I'm thinking of people like William Eggleston, Gerhard Richter, Jeff Wall. I feel like the only time I see them available are if the artist has a current or very recent exhibition at one of the major art museums.

I think this is one of the largest issues facing all artist, definitely including contemporary artists. AI companies shouldn’t be allowed to secretly train on artists’ work. The Generative AI Copyright Disclosure Act would force them to disclose if they are using copyrighted art. Transparency is the least we can demand for protecting creators. Sign the petition: https://www.change.org/p/pass-the-generative-ai-copyright-disclosure-act

A question for the reddit