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ArtDrunk

Get to know the artists that matter.
(6)

Subscribe to our email newsletter for weekly artist introductions — your guide to spotting their work in museums and galleries, understanding what it all means, and exploring online resources for more.

26/04/2026

Inside Emma Webster’s () studio, worlds are built, landscapes are pruned, and paintings are painted.

Her process is not as straightforward as you might think. Sometimes they begin as sketches or watercolors, made en plein air. Othertimes they start as clay sculptures, 3D-scanned and molded digitally. Dioramas are made on her computer. Images collected from a vast number of resources. Artwork is made virtually, then physically, then back and forth again.

Her landscapes don’t simply depict nature. She moves beyond the eye-level view of traditional landscape painting. Aerial perspectives, warped distances, impossible light, and invented creatures build an entire world. Familiar forests and fields begin to feel like dreams or spaces from a video game.

Seen together, the works feel less like separate paintings and more like fragments of one unfolding world.

That world soon opens at Petzel in New York ().

Emma Webster: Rues and Leaves Themselves Alone
Apr 30–Jun 6, 2026
Petzel
New York 🇺🇸

25/04/2026

How does Louise Giovanelli () see the world? She crops.

In this excerpt from ArtDrunk’s () newest YouTube series “How We Art”, we get into the details of Louise’s practice and process. It’s just as important to zoom in on overlooked details as it is to know what to cut out. Lessons that could even be applied to life in general.

Special thanks to White Cube () for letting us film at their Bermondsey gallery and installing several of Louise’s works that served as our unique backdrop for this episode!

“How We Art” is the series that takes you inside the art world and demystifies how to see, how to experience, and how to appreciate all that art has to offer. Head to YouTube for the full episode. Let us know what you think in the comments!

24/04/2026

Advice from an artist: Stay curious. Be open to as many mediums as you can get your hands on. Keep your options open, and never be afraid to change.

Tacita Dean's exhibition at Marian Goodman () in LA closes tomorrow. Check it out while you can!

Tacita Dean: Trial of the Finger
Feb 21–Apr 25, 2026
Marian Goodman
Los Angeles 🇺🇸

23/04/2026

Julie Mehretu’s (juliemehretu) “Black Monolith” opens her latest exhibition at Marian Goodman Gallery () like a threshold — inviting you in while resisting full comprehension. As you move around it, light shifts, pigment changes, and the piece becomes something entirely different from every angle. It doesn’t hold still. Neither does your eye.

The full title of the work includes direct reference to Jack Whitten’s monumental Atopolis: For Édouard Glissant, this work reaches across lineages — connecting Mehretu to the art history behind her and actively building the one ahead. Fragments of body, architecture, and memory surface, dissolve, and return in new form. What feels distant becomes visceral the closer you approach.

Julie Mehretu: Our Days, Like a Shadow (a non-abiding hauntology)
Apr 14–Jun 6, 2026
Marian Goodman
New York 🇺🇸

21/04/2026

This is “How We Art.” Our YouTube series about how art is really seen, lived, and made through the artists and people shaping it.

For Episode Two, we step into Louise Giovanelli’s () world. Filmed inside the cavernous storage rooms of White Cube Bermondsey (), we were lucky to have several of her works as our backdrop, setting the tone and the inspiration for a fun morning learning to draw and learning to see. In this teaser, we take a closer look at the “The Death of Marat,” which is an unexpectedly modern work. Watch the full episode on YouTube for more!

Episode One, featuring Art Basel Hong Kong () Director Angelle Siyang-Le () is also live on our YouTube and features a how-to of exploring an art fair.

Hosted by Gary Yeh ().

19/04/2026

Kyoto’s long, narrow interiors pull you in. Peeling walls, old sliding doors, exposed pipes, and traces of daily life come into view. Jushin Kaikan feels less like a venue than a place where time was left behind. The work of Yves Marchand & Romain Meffre fits naturally here. Known for photographing urban ruins and decaying architecture, their images resonate differently in a space already marked by age and erosion.

That is part of what makes KYOTOGRAPHIE () so compelling. Rather than using neutral venues, the festival pairs image and site so each deepens the other. Across the city, the program opens outward.

Some artists reflect on cities, history, and marginalized communities. Others turn toward nature, time, and unseen forces. There are fashion and portrait images of globally known musicians, actors, and artists, while another exhibition confronts viewers with life in Gaza today.

Through photography, KYOTOGRAPHIE brings politics and nature, memory and emotion, individuals and society into conversation across Kyoto.

Featured here:
Anton Corbijn () at SHIMADAI GALLERY KYOTO (.official)
Yves Marchand & Romain Meffre () at Jushin Kaikan (Former Mimuro Family Residence)
Fatma Hassona at Hachiku-an (Former Kawasaki Residence)
A4 Arts Foundation () at Hachiku-an (Former Kawasaki Residence)
KG＋SELECT () at Kurochiku Makura Building
Atsushi Fukushima at ygion (.gion)
Sari Shibata () at ASPHODEL

18/04/2026

Kyoto was Japan’s capital for nearly a thousand years before power shifted to Tokyo. KYOTOGRAPHIE () unfolds across the city, drawing on that sense of accumulated time.

Launched in 2013 by French photographer Lucille Reyboz and Japanese lighting artist Yusuke Nakanishi, a married couple, the festival feels shaped by their different practices from the start.

Here, photography isn’t confined to exhibition walls. Works are placed throughout temples, traditional Machiya houses, modern buildings, and museums, each with its own history and atmosphere. In these settings, images don’t sit still. They shift, depending on where and how they’re encountered.

This year’s theme, “EDGE,” follows that logic. It moves beyond the idea of a boundary as a dividing line, focusing instead on points of contact where tension builds.

Photography has always operated in that space, somewhere between document and art, truth and construction. Right now, both photography and the world feel increasingly defined by that condition. KYOTOGRAPHIE leans into it, with each artist approaching the idea of the edge from a different angle.

Featured here:
Juliette Agnel () at Yuhisai Koudoukan ()
Thandiwe Muriu () at Kondaya Genbei Chikuin-no-Ma ()
Federico Estol () at Kondaya Genbei Kurogura
Linder Sterling () at The Museum of Kyoto Annex ()
Lebohang Kganye () at Higashi Honganji
Ernest Cole () at Kyoto City KYOCERA Museum of Art ()
Pieter Hugo (.hugo.official) at Kyoto City KYOCERA Museum of Art
Daido Moriyama () at Kyoto City KYOCERA Museum of Art

KYOTOGRAPHIE
Apr 18–May 17, 2026
Kyoto 🇯🇵

16/04/2026

Li Zhanyang’s “Nanshan Restaurant” from 2007. Curator Dr. Wu Mo (Wu Mo) gives you the lowdown at M+ (M+, Museum of Visual Culture).

M+ Sigg Collection: Inner Worlds
Jun 27, 2025–Ongoing
M+
Hong Kong 🇭🇰

14/04/2026

This piece is made from dog chew.

Born in 1972 and raised during a period of rapid urbanisation in China, the artist Liu Wei () often returns to the city as both subject and system. Working across painting, photography, and installation, he examines how environments are built and experienced. This work, titled "Don't Touch!" from 2010, is part of an ongoing series, in which he recreates well-known buildings out of dog chew, questioning their political and cultural significance.

Curator Dr. Wu Mo () takes you around the work, now on view at M+ () in Hong Kong.

M+ Sigg Collection: Inner Worlds
Jun 27, 2025–Ongoing
M+
Hong Kong 🇭🇰

13/04/2026

Writing expands into space. Suspended scrolls form a landscape. An imagined utopia expands from the motifs of classical Chinese painting. This is the modernization of Chinese calligraphy through the performance, installation, and everyday actions of Yangjiang Group. The collective, founded in 2002 by Zheng Guogu, Chen Zaiyan, and Sun Qinglin, pushes calligraphy beyond tradition, bringing it into unexpected and sometimes communal settings.

Here, Curator Dr. Wu Mo (), takes you through the their works at M+ (), where the traces of their process remain visible—drips, marks, and gestures that reveal how the work came into being.

M+ Sigg Collection: Inner Worlds
Jun 27, 2025–Ongoing
M+
Hong Kong 🇭🇰

10/04/2026

We recently visited M+ () in Hong Kong, touring several shows, including their latest display of the M+ Sigg Collection.

Curator Dr. Wu Mo () kicks off this series with Yue Minjun's () sculpture "2000 A.D." Here, twenty-five life-sized sculptures repeat the same figure, arranged in a formation that recalls China’s terracotta warriors. Set between individuality and uniformity, the work reflects on the tension between the self and the collective. A key figure of Cynical Realism, Yue is known for his iconic “laughing man.” What first reads as humor starts to feel more uneasy the longer you look.

The work is part of "Inner Worlds," which looks at a period of rapid change in China from the mid-1990s to the 2010s, when globalisation and economic shifts began to reshape everyday life.

M+ Sigg Collection: Inner Worlds
Jun 27, 2025–Ongoing
M+
Hong Kong 🇭🇰

09/04/2026

Meet Michele Chu (michele chu). She explores the use of body as a way to hold time. In her Hong Kong studio, making isn’t about producing images—it’s about staying with what remains. Through slow, physical processes of imprinting and removal, the body becomes a way to mark presence, absence, and what lingers in between.

Her practice is multi-layered, featuring these more intimately scaled works made from Polaroids to large-scale installations that invite you to interact with strangers or dine with friends. All of which comes together as a way to process intimacy, care, and grief.