Tucked away on the border of New York City’s Chinatown and SoHo, The KIOO Project presented Through Her Lens! A celebration of female empowerment through the magic of photography, donated artwork, good food, and stand-up comedy on Oct. 14.
Long Branch celebrated cultural diversity through food, music, art, and community with Culture Around the Corner, a free three-day festival that took place from Oct. 2 to Oct. 4.
To kick off New York Fashion Week, Transformer Table brought art, design and storytelling to SoHo with A Seat at Her Table, an immersive collaboration with Netflix’s Selling Sunset star, artist and interior designer, Amanza Smith.
The genuine excitement was buzzing amongst the crowd of campus ambassadors gathered in the lobby of Mondrian South Beach hotel on June 2.
Artexpo New York has returned, and it’s bigger than ever.
Bughouse, written by playwright Beth Henley and conceived and directed by Martha Clarke, immerses audiences at Vineyard Theatre in New York City in the haunting and imaginative world of outsider artist Henry Darger.
On Tuesday, March 9, a new art installation quietly appeared along the Park Avenue Mall, just opposite The Armory. The piece, entitled Talisman: A Sacred Grove, is the latest vision of artist Michele Oka Doner, whose nature-inspired work has been celebrated for nearly five decades.
The beloved Whitney Biennial this year revved things up with the 2026 Hyundai Terrace Commission by Los Angeles–born artist Kelly Akashi.
This week, the Carrom x Clarence Ruth Exhibition closed a successful one-month run at Ki Smith Gallery on the Lower East Side. Timed to debut in celebration of Black History Month, the exhibition was curated by fashion designer, author, and artist Clarence Ruth. Widely regarded as the first exhibition of its kind, the multidisciplinary showcase transformed handcrafted Carrom boards into contemporary works of art while preserving their playability.
Photo Courtesy: Carrom x Clarence Ruth Exhibition
Toward the end of the run, the gallery hosted the Carrom x Clarence Ruth Panel Discussion, an intimate cultural conversation exploring the convergence of art, fashion, craft, and cultural identity. Art curator, cultural connector, and The Real Housewives of New York City personality Racquel Chevremont moderated the discussion. Together, the panel examined how heritage, materiality, and community shape contemporary creative expression. They also explored creative collaboration, cultural storytelling, and the importance of physical community spaces in an increasingly digital world.
Additional panelists included exhibition curator Clarence Ruth, painter Jeremy Yuto Nakamura, Bradley Taylor, co-owner of The Carrom Company, and Ki Smith, founder of Ki Smith Gallery and a champion of emerging, diverse, contemporary voices.
Photo Courtesy: Carrom x Clarence Ruth Exhibition
The exhibition and panel were presented in partnership with RAISEfashion, with a donation of $10,000 to the organization. RAISEfashion provides pro bono strategic and creative support to Black-owned brands and creatives. The evening drew creatives, collectors, fashion insiders, and cultural tastemakers. As a result, the exhibition served as an intentional complement to Fashion Week programming and was featured on the official CFDA Fashion Calendar. Guests enjoyed refreshments courtesy of VOSS Water, Hampton Water Rosé, LVMH, and Algodon Wine.
Originating in the 1800s, Carrom boards have long served as communal objects of craft and play. Clarence Ruth’s reinterpretation introduces a new cultural framework for the historic medium. It brings renewed energy to the form while engaging a younger, design-minded audience and honoring generations of craftsmanship. Each artist worked within the constraint that the boards remain fully functional. This required durability, surface precision, and gameplay integrity alongside visual expression.
Limited-edition prints of the artist collaboration Carrom boards are available at carrom.com while supplies last.
When I first opened Lidia Yuknavitch’s memoir, “The Chronology of Water,” I could not get myself to stop reading. I felt like I was gulping down each chapter, and wouldn’t feel satiated until I had finished them all. I had never read anything like it; nonlinear, feral, unflinchingly honest, poetic, raw, dark as hell, and fascinating, both in the life it chronicled and in the way Yuknavitch chose to tell it.
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