Elephant Magazine

Elephant Magazine Life Through Art

“Connecting to my girl-self. That’s my intention. Connecting to my inner child, the younger me, or my Black girl-self. I...
13/06/2025

“Connecting to my girl-self. That’s my intention. Connecting to my inner child, the younger me, or my Black girl-self. I use these different objects and symbols in my current world to piece together my past Black girl universe.”

On the occasion of her solo exhibition, LADYLIKE, at NADA New York, Haleigh Nickerson ( ) spoke with curator and writer Jane’a Johnson () for Elephant Magazine.

“As summer approaches (quicker every day) and the city’s galleries begin their seasonal exhale, June offers a flurry of ...
12/06/2025

“As summer approaches (quicker every day) and the city’s galleries begin their seasonal exhale, June offers a flurry of must-see exhibitions before the slowdown commences in full. This month’s column surveys a series of shows where queerness—politically, historically, erotically—threads through the work with quiet force or radical clarity, as well as one special mention for a show that opened a bit further ago than our normal month-to-month programming, but with just as much gusto as usually warranted for an inclusion. Across mediums and generations, these exhibitions map intimacy, resistance, and ritual in forms both fugitive and full-throated (we said it!). With hallmark names like Glenn Ligon and Rashid Johnson anchoring the calendar, alongside intimate group shows and live performances from emerging talent worth noticing, acquiring, and supporting long after their exhibitions end, the season crescendos, then takes a breath. Before the wheels are up, the bags are packed, and we trade desk chairs for wicker cafe stools in an exotic locale, here’s what to see – and feel – while it’s all still in motion.”

Reframe is a monthly column in which contributor Sam Falb () discusses timely openings to view in New York. Each edition offers commentary on the latest exhibitions, performances, and installations. Dynamic and ever-evolving, the content reflects the fluidity of the market it travels through.

Lenny, Berlin (2022) in MY ROMANTIC IDEAL at The Bureau of General Services—Queer Division in NYC, on view through August 31.

As galleries open their doors for the 2025 edition of London Gallery Weekend  (6-8th of June), Annabel Downes (), armed ...
06/06/2025

As galleries open their doors for the 2025 edition of London Gallery Weekend (6-8th of June), Annabel Downes (), armed with a £54 inflatable dinghy and two well-worn paddles, braves London’s waters to tour the best galleries ahead of the weekend by boat.

Photography by Saffron Liberty

“All places in the world are loaded in one way or another, yet some thick ley lines of world capital, glamour and politi...
03/06/2025

“All places in the world are loaded in one way or another, yet some thick ley lines of world capital, glamour and political division intersect here, at the bedazzled UAE airport where I arrive. I disembark my flight with an open heart – the headpieces of Emirati Airlines hostesses freshly pinned to my inner-life moodboard – but my mind is filled with in-flight reading of statistics on the country’s concentration of wealth, which is at the expense of the population’s almost 90% of immigrant workers with no share of public life. This is to say the extreme disparity is well concealed — much better than in a place like, say, the US, which is prouder in violence and quicker to kill spiritually upon arrival. And so, I arrive in Sharjah snooping around for gossip, the most reliable form of knowledge circulation in this context, to better understand the nuanced extremes.”

In her column, A Little Mission, Tosia Leniarska () follows artists into places of intrigue or personal significance to talk about their work. This month brought her to an abandoned village and a town hall in the southeastern Arabian Desert, its portion in the Sharjah Emirate stretching between Dubai and the Omani border. She spoke to artists Raven Chacon () and Luke Willis Thompson () who chose these sites to show their works as part of Sharjah Biennial 16: “to carry.” They attended during March Meeting, the historically iconic regional gathering of artist talks and performances – this time, during Ramadan, held at night.

Photography by Tosia Leniarska

“In an interview published in a 1968 issue of Manchete, the famous writer and columnist Clarice Lispector asked Maria Ma...
02/06/2025

“In an interview published in a 1968 issue of Manchete, the famous writer and columnist Clarice Lispector asked Maria Martins whether she saw her sculptures “as figurative or abstract.” Martins replied: “I am anti-isms. Some say that I am surrealist.””

In her recent article for Elephant Veronica Stigger () reflects on the enduring legacy and complexity of Maria Martins work.

Maria Martins, L’Impossible, reproduced in the catalogue Le Surrèalisme en 1947.

“If New York’s literary scene had a queen bee, Whitney Mallett would be buzzing at its centre, bold and relentlessly pro...
28/05/2025

“If New York’s literary scene had a queen bee, Whitney Mallett would be buzzing at its centre, bold and relentlessly productive. A writer, editor, and cultural catalyst, Mallett is one of those long-time New Yorkers who has carved out a singular space with her irreverent wit and curiosity. Her work floats effortlessly between fiction and criticism, style and substance, always with a pulse on the city’s ever-morphing artistic landscape. But it’s The Whitney Review, her latest project – a play on her name and the institutional gravitas of the world around us, that has cemented her as a necessary, subversively glamorous force in contemporary literature.”

For years, Mallett () has been front and centre on what’s cool in the city and around the world. In this interview with Elephant, Jo Rosenthal () dives into Mallett’s world to talk about authorship, aesthetics, and how to build a literary hive with a real sting.

The Whitney Review issue launch with . Photographed by Alex La Cruz.

“It really blows my mind how so much energy and effort go into something so fleeting. It’s beautiful and special and abs...
28/05/2025

“It really blows my mind how so much energy and effort go into something so fleeting. It’s beautiful and special and absolutely crazy at the same time, and I love that. It’s something I’m still processing. With gallery or museum shows, it’s up for months. My studio team and I learned a lot from this about how we operate, but also about how fashion creatives operate. In my practice, I think about time in relation to space and the body a lot, so this really resonated.”

Jonathan Lyndon Chase’s () collaboration with Acne Studios () redefines both the domestic space and the retail experience with a personal capsule collection and poetic installation. Words by Sahir Ahmed ()

- Jonathan Lyndon Chase in their studio. Courtesy of Acne Studios

- Installation view of Heart Beat Rose, exhibition by Jonathan Lyndon Chase for Acne Studios Greene Street, New York, 2025.

Today we’re reflecting on this piece from the Elephant archives: Julia Soboleva, Thin Red Thread, 2022. “This haunting d...
26/05/2025

Today we’re reflecting on this piece from the Elephant archives: Julia Soboleva, Thin Red Thread, 2022.

“This haunting depiction, titled Thin Red Thread, was made by Latvia-born, UK-based artist Julia Soboleva, whose esoteric process involves painting and collaging over found photographs. Dedicated to the people of Ukraine, the image alludes to the horrors faced by victims of war, and recently appeared on .support.ukraine, a platform where artists can donate works for sale, with all proceeds going to support “Ukrainian art workers in need”.”

“Literature does its best to maintain that its concern is with the mind; that the body is a sheet of plain glass through...
23/05/2025

“Literature does its best to maintain that its concern is with the mind; that the body is a sheet of plain glass through which the soul looks straight and clear…. On the contrary, the very opposite is true. All day, all night, the body intervenes; blunts or sharpens, colours or discolours, turns to wax in the warmth of June, hardens to tallow in the murk of February…”

The visceral, boundary-pushing works of Eva Hesse and Helen Chadwick become sites of solace and self-reckoning in Ryann Donnelly’s Body High: Death, Drugs & Eva Hesse. In her recent article for Elephant Deborah Nash explores both artists and the themes of health and illness in their lives and practices.

“People always ask me what I do, and I’m just like, ‘I’m just a girl who was on the internet at a very young age and lea...
21/05/2025

“People always ask me what I do, and I’m just like, ‘I’m just a girl who was on the internet at a very young age and learned how to put my thing down, flip it, and reverse it into something real—something tangible.”

Welcome to another edition of Girl Talk, where Gabrielle Richardson () and Gwyneth Giller () explore how nostalgic internet aesthetics are shaping contemporary art spaces.

Photography by Sam Leviton ()

“Now technically, that wasn’t my first tattoo. The actual first one was just a dot that a close friend gave me on my che...
20/05/2025

“Now technically, that wasn’t my first tattoo. The actual first one was just a dot that a close friend gave me on my chest with a needle and India ink. It was kind of spontaneous—we were drinking, it was 5:00 a.m., and they were about to leave India. This was still when I was Iiving in New Delhi. They just marked me in this small, funny, symbolic way. So that was factually my first tattoo.”

Elephant’s editorial team takes the time to sit down with Furqan Jawed (), the mind behind Elephant Magazine’s graphic design.

Photography by Cheryl Mukherji ()

“I’m an archivist operating from the position of a blue-collar builder. Call me the janitorial staff if you want. I’m fa...
19/05/2025

“I’m an archivist operating from the position of a blue-collar builder. Call me the janitorial staff if you want. I’m familiar with plumbing. I know how to fix your walls and perhaps place art on them. And I know for a fact, at some point, you’re going to need my services.”

In a landscape where galleries often chase the illusion of effortless success, Onyedika Chuke () is transparent about the failures and the sheer force of will required to do things differently. Creative consultant and cultural strategist Vajra Kingsley () sat down with Chuke for Elephant.

Onyedika Chuke, photographed in Oxford. Image courtesy of Storage Art Gallery.

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