Megan O’Grady explores the intersection of motherhood and art in the Yale Review, particularly reflecting on how artists have shaped her perception of it. Her encounter with Heji Shin’s Baby photos at the 2019 Whitney Biennial in New York City was a moment of profound recognition. These large-format, intensely personal portraits of newborns, with their visceral detail, invoked a sense of ‘vulvic space’ as described by Schneemann. Shin, in conversation with O’Grady, likened the images to scenes from The Exorcist, noting the varied responses they elicited. Men, in particular, often saw them as an analogy for art creation.
O’Grady notes that, for her, the Baby series was a raw depiction of new motherhood, stripped of sentimentality. It illustrated the inherent risks of childbirth and art-making, presenting the fragility and determination of life. The images resonated deeply with her personal experiences, offering a truthful representation that she found both refreshing and affirming, rather than transgressive or metaphorical.
In a different context, Lynn Trimble of Southwest Contemporary delves into the financial challenges artists face when presenting work at international events. Taos-based artist Nikesha Breeze shares the daunting $100,000 cost of showcasing their Living Histories installation at the 2026 Biennale of Sydney. Despite the biennial’s commissioning, Breeze faces significant expenses, including creation and documentation, leading to financial strain.
Meanwhile, the mystery surrounding Banksy’s identity remains a topic of intrigue. Reuters’ Simon Gardner, James Pearson, and Blake Morrison investigate the potential impact of revealing Banksy’s identity on the market value of his artwork. Opinions are split, with some dealers, like Acoris Andipa, maintaining that art’s appeal is independent of Banksy’s anonymity. Others, such as Robert Casterline, speculate that the disclosure could affect market dynamics, depending on Banksy’s next steps and the ongoing demand for his work.
