Colossal Members have helped us reach a fantastic milestone! We’re delighted to share that this month, we’ve officially assisted in funding 100 projects in classrooms around the nation via DonorsChoose. These include supplies and materials for K-12 students, some of whom are learning about and experiencing art for the first time.

A portion of all Membership fees are allocated to this initiative, and so far we’ve been able to contribute more than $13,000, making a substantial difference in numerous learning spaces. And since we’re based in Chicago, we especially like to support classrooms here at home. Here’s what a few recent recipients had to say after their projects were funded:

“These supplies will boost morale and prove to students they are seen and cared about. In a time when it is an act of bravery for them to leave their homes and be in school, the ability to be creative without any limits to materials means more than anything.” —Ms. Resnick, Gage Park High School, Chicago

“Thank you so much for your generous support of our 4th-grade classroom! Because of you, every student now has a set of vibrant watercolor paints to bring their learning to life.” —Mrs. Wilson, Dawes Elementary School, Chicago

“On behalf of our students, I want to extend a heartfelt thank you for your generous contribution to our art classroom. Your support has made a real and lasting impact — from sketch books to erasers to our art drying rack – every supply you helped provide has become a tool for creativity, self-expression, and learning.” —Ms. Pogue, Deneen School of Excellence, Chicago

Find out more about the specific projects funded on DonorsChoose, and join us by becoming a Colossal Member.

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For the first time in more than 50 years, NASA launched a mission to the Moon. A lot has changed since 1972, when we last checked in on the enormous, rocky satellite, but there is much to learn—and revisit—when it comes to traveling through deep space and considering what, as NASA describes it, a “long-term return” to our lunar companion could look like. The Artemis II mission, which is currently underway and scheduled to last a total of 10 days, has also released some remarkable images of our home planet.

A striking image of the Earth “setting” behind the cratered Moon takes a truly unique view of our planet and prompts us to consider our perspective. It’s reminiscent of one of the most iconic photographs of all time, known as “Earthrise,” which was snapped by astronaut William Anders during the 1968 Apollo 8 mission—the first crewed trip to the Moon.

Artemis II is scheduled to return to Earth on the evening of April 10, when the crew will splash down into the Pacific Ocean off the California coast.

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When we think of Los Angeles, we often picture seemingly endless sunny skies, postmodern downtown skyscrapers, Hollywood, and beachy enclaves like Venice. But there’s also a mysterious, lurking side of Los Angeles popularized by legendary gangsters like Mickey Cohen and the hardboiled novels of Raymond Chandler, published between the 1930s and 1950s.

For Emmy award-winning director and photographer Daniel Sackheim, this gritty, shadowy underbelly lends itself to a series of bold black-and-white photos that highlight the noir valence of this iconic hub. His forthcoming book, The City Unseen, leans into L.A.’s dualities, focusing on historic buildings, trains, and individuals walking through urban spaces.

Often silhouetted in patches of sunlight, Sackheim’s dramatically cinematic effects of deep shadows and crisp highlights suggest a kind of timelessness. Even the daytime shots feel eerily as if they could be shot during a full moon or amid uncanny artificial light. In a city that is both contemporary and steeped in history, “Sackheim’s journey through these urban spaces is a testament to the paradox of the night, where stillness and trepidation walk hand in hand,” says a statement.

Sackheim is curating an exhibition alongside photographer Julia Dean for Ren Gallery, which is slated to open in May. The City Unseen is scheduled for release on May 12. Find your copy from Hat & Beard Press, and see more of Sackheim’s work on Instagram.

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Nothing and nobody is perfect. Imperfections can be found everywhere. From June 18 to 21, experience how these defects and shortcomings, these imperfections and flaws, can lead to fascinating discoveries and beautiful creations at the 2026 Bosch Parade. This edition’s theme, Powered by Defects, pays a contemporary tribute to the large and small wrongdoings in the world. 

Dedicated to painter Hieronymus Bosch (1450-1516), the biannual parade honors the artist’s fascination with the fantastical and absurd. Bosch is known for his symbolic paintings, often tying in gruesome representations of the afterlife and human desire and fear. He is also regarded as one of the earliest genre painters, depicting common people and their everyday experiences. 

Participating artists embody his philosophy and aesthetic with floating artworks uniquely created for the parade. This year, an international fleet of nineteen new creations will drift down the Dommel river at the centre of ’s-Hertogenbosch, the city where the artist was born and that eventually adopted his name.

At the center of the Bosch Parade is the Garden of Earthly Delights: a summery open-air studio on the waterfront at the Citadel, the medieval fortress in the heart of ‘s-Hertogenbosch. In this bustling incubator, the public can see and meet the artists bringing their artworks to life.

Since 2010, the Bosch Parade has drawn thousands of visitors to the region. The 2026 edition is curated by David Bade, a multidisciplinary artist and co-founder of the Instituto Buena Bista in Curaçao. For the 2024 parade, he created the large, groundbreaking community project, Your Contemporary Demons.

To learn more, visit boschparade.nl/en/, and view the full 2026 program.

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When Moffat Takadiwa sees a pile of rubbish—old technology parts, personal care items, clothing—he doesn’t just see a bunch of junk. The Harare, Zimbabwe-based artist has spent the better part of two decades collecting thousands upon thousands of pieces of plastic and metals foraged from landfills near the city’s Mbare neighborhood, where heaps of electronic equipment waste, also known as e-waste, ends up in illicit dump sites. In his studio, vast collections of colorful objects are meticulously sorted into collections.

Takadiwa is known for his elaborate sculptures made from what he describes as “everyday consumer residue”—discarded computer keyboard keys, toothbrush heads, plastic combs, buttons, and more. The colors, textures, and patina of wear and age produce patterns that it’s tempting to describe as “organic,” even though the materials are the opposite.

The artist’s current solo exhibition, The Crown! at Semiose, highlights the tension not only between visual harmony, consumer culture, and waste but also those of what curator Fernanda Brenner describes in the exhibition essay as “the tensions of Africa’s post-colonial afterlife.” Takadiwa describes it as the “colonial hangover.” For instance, afro combs appear throughout the show, “rooted in African traditions and the colonial self-fashioning they forced,” Brenner says. “Once tools for grooming and ritual, these combs now bear the weight of resistance and pride in Black political life.”

Takadiwa’s compositions drape, tapestry-like, with repetitive patterns and textures that alternate between softness and brittleness. From the distance, the details of unique components blur into a fabric-like substrate, but upon closer inspection, nail polish brushes, caps, and keyboard keys in various states of aged yellowing emerge as individual tributes to overconsumption and excess. “The result is beautiful, which is where the trouble begins,” Brenner writes. She continues:

If beauty could settle old scores, the art world would have solved more than it has…Rearranging the materials does not erase their origins. If you have ever pressed ‘delete’ and believed the problem was gone, his work offers a quiet correction. Nothing disappears; it only travels, usually to places like Mbare, where Takadiwa opened his artist-run space in what used to be a colonial beer hall.

The Crown! continues through May 16 in Paris. See more on the artist’s Instagram.

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Chiseled from wood, Aleph Geddis’ spindly, playful, vaguely alien wooden sculptures evoke an enigmatic tension between identity and glyph. His organic, hand-worked objects teeter between abstraction and figuration like retrofuturistic icons. The artist lives between Japan, Bali, and Orcas Island in Washington. “This split has been incredibly generative, allowing me to carry my practice with me and respond to very different environments and energies,” he tells Colossal.

Scale is a constant source of fascination. Geddis has recently been working on a series he calls Littles, which are “inspired by the way children disappear into dreamy, imaginative worlds while playing with toys,” he says. “They feel personal and secretive, almost like talismans.”

On the larger side, Geddis is lately considering how pieces may transform into site-specific responses to environments. He’s also currently working on a large-scale project for the Burning Man festival amid Nevada’s Black Rock Desert, which people will be able to walk through. “I love the idea of these forms existing in the clean, open environment of the playa, where they can be experienced at a completely different scale and in relation to the vast desert landscape.”

Some of Geddis’ works are currently on view at Crow Valley Gallery on Orcas Island alongside the work of his aunt, Kate Geddis. See more on the artist’s Instagram.

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Archaeologists have long known that the ancient peoples of North America—not unlike us—played a lot of games. Going back millennia, cultures around the world developed myriad ways to keep entertained, and for a long time, it was thought that the first dice ever used could be traced to the ancient Eastern European and Near East cultures of Mesopotamia, the Indus Valley, and the Caucasus. But according to a new paper by Robert Madden, published by Cambridge University Press, games of chance developed much, much earlier than originally thought—halfway around the world.

Researchers previously believed that the earliest dice originated about 5,500 years ago, but Madden shares that examples excavated in North America date back as far as the Late Pleistocene—the Ice Age. Among the oldest reported examples are a few found in modern-day Wyoming, Colorado, and New Mexico. The rich archaeological sites in these places are associated with the Folsom Culture, representing a dispersed hunter-gatherer lifeway that extended across the North American West, Southwest, and Great Plains around 12,000 years ago.

“The dice tend to show up in liminal spaces where you have a lot of high mobility,” Madden told Live Science. “It might have something to do with how separated these people are and the need to relate to people you don’t see very often.”

In the report, Madden also says that “the making and using of dice represent humans’ first known efforts to intentionally generate, observe, and record streams of controlled, random events…” He adds that, possibly for the first time, people were comprehending patterns or regularities in probability—a kind of precursor to understanding what we now call the law of large numbers. Anthropologists consider this to be “a crucial early step in humanity’s evolving discovery and understanding of randomness and the probabilistic nature of the universe.”

Madden compared hundreds of examples found across the American West with a comprehensive, several-hundred-page publication called Games of the North American Indians, published in 1907 as part of an annual report by the Bureau of American Ethnology. It’s currently available in a two-volume edition from Bison Books.

You might also enjoy seeing what may be the world’s oldest crayon.

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From April 9 to 12, EXPO CHICAGO returns to Navy Pier, hosting hundreds of galleries, site-specific projects, talks, and multi-disciplinary programming both downtown and across the city. This week is one of the most exciting times for the Chicago-area art scene, and we’re excited to share our annual preview of what we’re most looking forward to!

1. Aliza Nisenbaum at Anton Kern and Regan Projects

Presented by Anton Kern and Regan Projects, Aliza Nisenbaum’s vibrant portraiture portrays her subjects in bold chromatics. Nisenbaum’s smaller-scale works presented at the fair echo one of her larger projects: a celebratory mural titled “Reading Circles/ Weaving Dreams/ Seeding Futures” created for the Obama Presidential Center.

2. Tawny Chatmon at Galerie Myrtis

We’re always excited for the opportunity to see Tawny Chatmon’s portraits up close. Galerie Myrtis will be presenting some of the artist’s newer works, which continue her interest in melding craft techniques with photography. Rather than gold leaf, though, Chatmon embroiders various motifs onto her portraits.

3. Maya Fuji at Charlie James

Referencing a genre of manga popular in the mid-2000s, Maya Fuji’s Slice of Life peers into the everyday activities of her young characters. Lounging, petting a napping cat, and getting ready for the evening take center stage in these vibrant yet calm paintings.

4. LaKela Brown at 56 Henry

LaKela Brown has traded in her stark white paint for another monochromatic palette, coating her polyurethane sculptures in black. For her solo presentation with 56 Henry, the artist explores ethnobotany and Black life in America through renditions of collard greens, tobacco, corn, chicken wings, and more.

5. Gerard Mas at Ting Ting Art Space

Longtime Colossal readers will likely recognize this cheeky figure as one of Gerard Mas’ brazen busts. For the past few years, the Barcelona-based artist has been taking a playful, contemporary approach to sculpture, casting spirited women in a variety of witty roles.

6. Rhama Lhoussig at dmincubator

Merging abstraction and magical realism, Rhama Lhoussig paints vivid domestic scenes in which a recurring figure amuses herself with stuffed bears, flowers, toy blocks, and more. Crayon scribbles and crude line drawings fill the surrounding negative space, firmly placing the works in a dynamic moment of creativity.

7. Dee Clements with Mindy Solomon

Chicago’s own Dee Clements presents a suite of still-life paintings framed in hand-woven frames, alongside mixed-media sculpture and abstract tapestries.

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When we think of somewhere we’ve been, what are the first things to come to mind? Perhaps there are memorable smells, a sense of other people being around, or a particular quality of light. But what if we remembered landscapes and experiences through plants? For Hillary Waters Fayle, flower petals, seeds, and foliage combine into a kind of album of various places, which she then uses to create bold cyanotypes.

The artist has long worked with botanicals and other organic materials, notably embroidering foraged leaves and feathers with meticulous geometric designs. With the series Portraits of Place, which she’s been pursuing for the past six years, Fayle precisely arranges individual petals and leaves into intricate, symmetrical, mandala-like compositions on acrylic.

She starts by collecting and drying botanicals from specific locations, such as Grace Farms Foundation in New Canaan, Connecticut, or Maymont Park in Richmond, Virginia. These are then laid onto watercolor paper that’s been painted with UV-sensitive iron salts. After being left out in the sun, these result in the bright blue cyanotypes that chronicle the outlines—perhaps one could even say the spirit—of the distinctive layouts.

“The way these portraits illustrate a very particular place and time via botany can be a way to define the relationship that the people of that place have with the land—almost like a modern-day florilegium,” Fayle tells Colossal. She continues:

All of these pieces are so different and special to me, but it has been particularly meaningful to make portraits of areas that are going to change drastically in the near future, either from development or rising sea levels, fire, etc. It feels like a way of preserving and honoring the land and all that is present there right now. 

Flowers and plants symbolize the natural evolution of particular spaces, such as a gardener adding new bulbs or birds depositing seeds. They symbolize the nature of seasons and life cycles, emphasizing a relationship that is simultaneously enduring and ephemeral. See more on the artist’s Instagram.

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Misato Sano’s studio is replete with piles of wooden offcuts, heavy lumber, woodworking equipment, and flowing natural light. The Miyagi-based artist has been sculpting charismatic dogs for several years, steadily adding more distinct characters to her growing pack.

Self-portraiture remains a consistent theme within Sano’s practice. Each dog evokes a different emotion mirroring the artist’s personality, ranging from shy and skittish to excited and silly. “Visualizing my inner self through expressions and gestures full of charm and humor has also become an opportunity to deepen my self-love,” she shares.

Sano’s distinctive woodcarving techniques are exemplary of the artist’s signature style. Dimpled surfaces, for instance, evoke different types of dog coats and allow for color variance to come through upon the finishing application of oil paint. Working with camphor wood, the sculptural exaggeration of physical features such as limbs, bulbous tufts of fur, and even nails add to the body of work’s playful appeal.

These rhythmic textures and amusing design choices have also lent themselves to explorations of embroidery and illustration. Meditative stitches and repetitive, gridded ink drawings are a continuation of the artist’s dialogue with herself.

Sano is gearing up for an exciting year. Later this month, her work will be on view in a duo exhibition at the Kan Hai Art Museum in Taiwan. In August, the artist’s work is traveling to the states for Nucleus Portland’s 10th anniversary show, before a third exhibition at Igoone Arai in her native Miyagi, Japan. Keep up with the artist’s tail-wagging adventures by following her on Instagram.

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One of the many reasons artists like Lee Krasner, Jackson Pollock, Franz Kline, Cy Twombly, and other mid-20th-century pioneers of painterly abstraction were so innovative for their time is the use of the deliberate yet loose brushstroke. Pollock intuitively dribbled and splattered paint on surfaces spread across the floor of his studio, and Kline created bold, monochromatic paintings with just a few deceptively simple, gestural strokes of a large brush. It’s this visceral approach to visual rhythms and color that continues to awe us today. (A major retrospective highlighting both Krasner and Pollock’s work is slated for The Met later this year.)

For artist Liza Lou, the calculation of brushstrokes, color, and gesture opens the door to another media type altogether—beads. The artist is known for using the material, including a large-scale installation titled “Kitchen,” which took five years to create. In her recent work, she adds thousands of the diminutive baubles in myriad colors, shapes, and sizes to sweeps of oil paint on canvas. Tapping into the legacy of Abstract Expressionism, Lou parses the relationship between gesture, intention, organic forms, and the brushstroke as a subject unto itself.

Lou’s works appear this month in FAQ, a solo exhibition at Thaddaeus Ropac. The title references questions that the artist returns to again and again in her practice. When does a painting become not a painting? Can a brushstroke be more than a brushstroke? “These works are about amplification—about making things more ideal,” Lou says. “There’s a poem by Fernando Pessoa where he writes about wanting flowers to be more flowers than flowers, and in this body of work I’m using my material as a way to make paint more paint than paint.”

Unlike a quick swipe of a brush, each bead is meticulously placed amid a field of others, creating a chromatic topography. Lou likens them to painting “straight-out-of-the-tube,” except that they can’t be mixed on the canvas. She relies on color relationships, textures, and precise placement to give the impression that, from a distance, the loose strokes and splatters have blended or merged. When viewed up close, we see distinct, saturated topographies that, in a rather macro sense, are delightfully sculptural with the soft ground of painted details underneath. “My process involves this improv where every stroke requires everything I have, my full attention,” Lou says. “Every mark becomes this kind of violin-crescendo-holy shit-experience.”

FAQ opens on April 10 and continues through May 23 in London. See more on Lou’s Instagram.

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The surprise of turning onto a street to see a vibrant mural—or the joy of viewing several in progress during popular festivals like Nuart Aberdeen—is essentially an ephemeral experience. Murals may be designed to last several decades, or they may be temporary installations that address a particularly interesting bit of local history or urgent social issue, but either way, the experience is brief as we walk by. Always vulnerable to the elements and new development, these pieces don’t always last long. That’s where Art UK’s archive comes in.

As a digital platform, Art UK connects viewers to public collections around the nation. There are about a million artworks on the site, drawn from around 3,500 collections, including museums, libraries, hospitals, town halls, and more. The organization also recently reached a significant milestone in its ambition to map and catalogue street art and murals across the country. Just a little more than two years after launching the initiative, Art UK has added more than 6,600 new works to its database, bringing the total number of public artworks to well over 21,000.

Ranging from small, spray-painted pieces by the notoriously enigmatic Banksy to large-scale compositions by Rogue-one, The London Mural Company, and more, the scope is daunting. “Our initial aim for the project was simple: we wanted to record 5,000 murals and wall-based artworks from across the U.K.,” says Art UK’s Public Art Manager, Tracy Jenkins. “The artworks would date from A.D. 1000 to the present day and include wall paintings in historic churches, post-war ceramic and concrete works, and contemporary painted murals and mosaics.”

Volunteers dedicated more than 5,000 hours to locating and photographing the works. The database includes many that are decades old at this point, emphasizing their sites and condition in case they’re ever threatened by future redevelopments. Most of the works are relatively recent, but Art UK doesn’t discriminate based on date or even if they’re outside. A series of otherworldly paintings inside of St. Thomas’ Church in East Shefford, Berkshire, for example, are centuries old.

Jenkins notes that the project launched at a time when street art and mural-making in the U.K. were experiencing a boom, and the addition of these aesthetic installations within an urban context “has been shown to significantly reduce the instances of unsightly tagging graffiti,” in addition to boosting visitors and local economies. She also acknowledges “public art in any form can be contentious, sparking debate and strong emotion… Street art and muralism is in many ways the most democratic genre—it is not created in a faraway studio, it is not locked behind closed doors, and it does not require prior expert knowledge.”

Creating an archive of street art and murals is a way to build engagement and also understanding of the medium, promoting a feeling of what Jenkins calls “community ownership and pride,” where moments of artistic, informative, playful, and celebratory work delight around city corners. See a handful of additions below, and explore the database on Art UK’s website.

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