Art in America launches the issue of “new talent” live

To launch a publication Art in AmericaThe “New Talents” case, the editors collected some of the artists who were chosen for 2025 alongside two stars – Carroll Dunham and Rochelle Feinstein – to talk about the current swing in the art world from form to abstraction. Electings were raised to “new talent” artists appointed for this year – 20 names to see them in axial points in their career, all of which will be revealed on May 16 on newspapers and online stalls. And discuss the painting, subject to supervision by AIA Emily Watlington, one of the most important stylistic transformations in the world in recent years.

AIA Editor -in -Chief Sarah Douglas and publisher Irika Lubo Nescarolmeer welcomed guests at the ground floor studio at the PMC headquarters against the main branch of the New York Public Library. To celebrate this occasion, they raised the cups of champagne provided by Ruinart – which were moved alongside the wine from Presqu’le – and offered toasts to the artists and an audience who gathered to admit their work and appreciation.

During the discussion episode, Dunham said about his early years as a painter starting in the seventies, “There was no doubt that I was invited to work in abstract art when I was young.” But over the years, emerging characters began. He said: “My work made me do so.” “It seems that my work wants certain things from me.”

“I remember years ago, an acting painter told me that I was not part of the culture of drawing,” said Fenctein, a decaded abstraction for decades. But she was looking for something on its own. “I was trying to understand the engineering drawing deeply because this was the least emotional form.” About the pendulum swing between shape and abstraction – dynamic exploited in a feature by Barry Shuhazbi in the new Art in America The case – Fenctein was subjected to the provision of perspective. “The pendulum represents the time,” she said. “It is liquid.”