Art World by Destinee Ross Sutton

Art World by Destinee Ross Sutton International Art related News, Exhibitions, Education etc. within the Arts, Photo, Design, Fashion etc. composed by Destinee Ross-Stutton & Associates.

Vanessa Raw in “Friends, Lovers, and Me: Recent Acquisitions” at the Rubell Museum, Washington DC Rubell Museum DC Three...
09/10/2026

Vanessa Raw in “Friends, Lovers, and Me: Recent Acquisitions” at the Rubell Museum, Washington DC Rubell Museum DC

Three paintings drawn from the Rubell’s permanent collection are brought together in a dedicated room, where Raw’s women inhabit lush, dreamlike landscapes: intimate worlds in which bodies, nature and human connection become entwined.

It includes the first work I posed for for Vanessa, titled “On Earth We Weren’t Meant to Stay”, 2023, (me in the blue braids on the left). This monumental piece served as the focal point for her breakthrough debut solo exhibition of the same name at the Carl Freedman Gallery in 2024. It was acquired by Mera Rubell and Don Rubell for their museum and featured in Vanessa Raw’s first U.S. solo show and her first institutional exhibition “This is How the Light Gets In” Miami, which opened December 2, 2024.
The triptych stretches across three panels, measuring an expansive 94.5 x 236 inches (240 x 600 cm).

Exhibition runs from 2nd September 2026 until Autumn 2027.



Vanessa Raw Rubell Museum

LUNITA-JULY DORN Lunita-July Dorn first institutional solo exhibition opens at the ACHIM FREYER STIFTUNG Kunsthaus und G...
09/09/2026

LUNITA-JULY DORN Lunita-July Dorn first institutional solo exhibition opens at the ACHIM FREYER STIFTUNG Kunsthaus und Galerie during “LIKE A BIRD ON A WIRE”
12.09. - 13.12.2026
OPENING: 12. September, 12pm

Curated by .bayer

For Berlin Art Week 2026, the is delighted to present the first institutional solo exhibition by painter Lunita-July Dorn (b. 1999). In large paintings and drawings, Dorn repeatedly portrays herself as a fictional protagonist. Whether alone or in groups, her own portrait serves as the starting point for a captivating painterly self-reflection and graceful, autofictional narratives. In her works, sketches and overpaintings, layers, cross-outs, and passages brought back to light remain deliberately visible. Thus, her search for identity does not appear to be complete, but rather a state of constant transformation.
The title of the exhibition takes it’s inspiration from the song “Bird on a Wire”, an original song by Leonard Cohen, later performed by Stina Nordenstam.

Photos: Gunter Lepkowski

I’m so behind posting from the opening of the Venice Biennale! One of my favorites was “Helter Skelter: Arthur Jafa and ...
08/30/2026

I’m so behind posting from the opening of the Venice Biennale! One of my favorites was “Helter Skelter: Arthur Jafa and Richard Prince”, curated by Nancy Spector Nancy Spector at Fondazione Prada, bringing two radically different visions of America into collision—Black and white, beauty and violence, freedom and exploitation—through the images, myths and obsessions of American popular culture.
More than any official representation, it felt like the true American Pavilion of the Venice Biennale: an unflinching portrait of America in all its brilliance, brutality, contradictions and chaos.

Arthur Jafa

Fondazione Prada

La Biennale di Venezia

08/27/2026

Repost Moments from ’s sculptural clay practice:

“I’ve realized that most people think I use an electric wheel because of the symmetry in my work.

To convey the illusion of symmetry in hand building takes many small accumulated rhythmic touches and an expanded state of awareness so that you may create in collaboration with the clay.” ~ Dina Nur Satti

______

About Dina Nur Satti

Drawing from her Sudanese and Somali heritage, Satti’s vessels are made using the ancient coiling technique-slow, meditative, and tactile-paying homage to the ceremonial use of clay across the African continent.

Her Lotus Series, is an exploration inspired by a depiction of the Nubian god Apademek found at the Meroitic site of a temple built in the 3rd century BC near Musawwaret el-Sufra and Naq’a in modern day Sudan.

In the stone relief, Apademek is depicted as a snake with a human torso and a lion’s head rising out of a lotus flower.

Her black-glazed and red clay vessels echo the tones of ancient Sudanese Kerma pottery, rendered with reverence and spiritual intention.

🇸🇩 🇸🇴

Repost Roland-Philippe Kretzschmar | The Art Bystander Buqaqawuli Nobakada The Lace Lady paints Black women into futures...
08/09/2026

Repost Roland-Philippe Kretzschmar | The Art Bystander Buqaqawuli Nobakada The Lace Lady paints Black women into futures they have too rarely been given the space to imagine. They recline beside swimming pools, move through gardens and inhabit grand interiors with complete ease. They are not visitors in these worlds. They own them.

Born in the Western Cape in 2000 and raised between Philippi and the rural village of Lady Frere, the South African artist now works between Johannesburg and London. Her distinctive paintings are made with acrylic on hand-prepared lace paper, sometimes finished with sculpted clay or gold jewellery.

The lace carries a personal history. It recalls the curtains in her maternal grandmother’s home, which the women of the family were responsible for caring for and repairing. For Nobakada, this became an early lesson in gender, craftsmanship and coming of age. In her paintings, that inherited domestic material becomes something monumental: landscape, architecture, clothing and skin.

At the centre of the work is what Nobakada calls “performative visuality”, the meticulous craft involved in how Black women style, dress and present themselves. Beauty is treated as intelligence and agency. Hyper-femininity becomes a means of self-determination, while luxury is reclaimed as a psychological space in which new lives can first be imagined.

Her paintings are seductive, but the proposition behind them is serious. Who grows up seeing people like themselves surrounded by beauty, freedom and abundance? What happens when you begin to make those images visible?

Nobakada received the ANNA Audience Award in 2023, and in 2025 presented her first solo museum exhibition in the United States at the Albany Museum of Art, which subsequently acquired two of her works.

Earlier this spring, I had the pleasure of welcoming Buqaqawuli onto “The New Contract”, a panel I moderated at Market Art Fair | Stockholm’s Art Fair, where her work was presented by Destinee Ross-Sutton Ross-Sutton Gallery

Meeting the artist behind these remarkable surfaces only deepened my admiration for her practice.

Stay tuned for upcoming New York solo debut details

On this day - “August 5th, 2023 (In Memoriam)”, 2025White folding chair, engraving (edition of 5 and 1 AP) ’s white f...
08/05/2026

On this day - “August 5th, 2023 (In Memoriam)”, 2025
White folding chair, engraving (edition of 5 and 1 AP)

’s white folding chair sculpture refers to an iconic moment from the on August 5, 2023, when a Black man used a white folding chair to defend a Black security guard who had been attacked while doing his job.
The image quickly became a cultural symbol—both serious and humorous—representing Black solidarity, resistance, and collective defense in the face of centuries of white brutality that enabled this.

For enquiries info@ross-sutton.

Several people were taken into custody on Saturday night (August 5, 2023) after a massive brawl broke out at Montgomery Riverfront Park, Alabama. Things began after several white people were seen attacking a Black man over a boat dock space. According to a Montgomery Police Department report, officers responded to a disturbance at the 200 block of Coosa Street around 7 P.M. MPD officials said there was a large group of people fighting, leading to several of them being detained. 4 white people were charged with third-degree assault in the incident, the Black gentleman using the chair had to plead guilty to disorderly conduct.

A number of videos from the incident went viral, showing the beginning of the incident, during, and the aftermath.
It is reported that things all began over a pontoon boat that had been blocking a dock space that reserved for a riverboat; that specific spot was reserved for the Harriott II Riverboat.
In the viral videos, viewers see one white man confronting a single Black man, who happened to be a worker at the dock.
As an argument ensues, onlookers next see another white man rush over and hit the Black dock worker, who backs up and throws his hat into the air, signaling he was ready to fight.
As arms get to swinging, several white men rush over and join in on the attack, essentially jumping the lone Black man.
As onlookers scream and yell in shock, in one video someone can be heard repeatedly shouting to other people nearby, “Y’all help that brother!”

Ross-Sutton Gallery Destinee Ross-Sutton

With great sorrow we today remember the extraordinary artist (1935–2026) who left us peacefully in her sleep June 27, a...
06/29/2026

With great sorrow we today remember the extraordinary artist (1935–2026) who left us peacefully in her sleep June 27, age 91 at home in Cologne, Germany.

It was a privilege to include her work in Unapologetic WomXn – The Dream is the Truth at the 59th Venice Biennale. At 89, she was the oldest artist in the exhibition—a pioneering woman whose practice remained uncompromising for more than six decades.

Rune Mields dedicated her life to exploring creation myths, systems of order, and the underlying structures that shape our world. With remarkable clarity and intellectual curiosity, she moved between mathematics, physics, philosophy, music, and art, creating paintings and drawings that contemplated space, time, infinity, and the human desire to understand. Her restrained visual language—built from abstraction, geometry, line, and a palette of black, white, and grey—was never cold. It was driven by a profound belief in beauty: beauty as structure, as harmony, as thought.

Working in a male-dominated art world, she forged an independent path with quiet conviction, leaving behind a body of work that feels as timeless as it is visionary.

Thank you, Rune, for your generosity, your rigor, and your enduring contribution to art. Your work continues to inspire.

An exhibition planned with Rune Mields during her lifetime by her gallery is scheduled to take place in 2027 at the Kunsthalle Giessen and the Museum Morsbroich. This dual exhibition will now honor her body of work in the form of a retrospective.

Her work can be found in the collections of MUSEUM LUDWIG ZKM | Karlsruhe Neue Nationalgalerie Kunstmuseum Bonn
Staatsgalerie Stuttgart etc.

📷 Portrait Rune Mields in her Atelier 2015 by Michael Böttcher in front of her painting quoting J.S. Bach’s lyrics
“Komm, süßer Tod, komm, sel’ge Ruh!
Komm, führe mich in Friede,
Weil ich der Welt bin müde...”

“Come, sweet death, come, blessed rest! Come, lead me into peace, For I am weary of the world...” pleading for deliverance and the peace of paradise. 🕊️

Another happy collector - here Buqaqawuli Nobakada (b.2000, South Africa) work “Tea in the Backyard” having found its ho...
05/31/2026

Another happy collector - here Buqaqawuli Nobakada (b.2000, South Africa) work “Tea in the Backyard” having found its home in one of Stockholm’s most desired neighborhoods Djursholm, even Ginnie the dog is happy ☺️

Nobakada creates textured lace-based paintings that celebrate Black femininity, beauty, and self-determination. Through intimate portraits and imagined spaces of luxury, her work reclaims softness, glamour, and aspiration as powerful expressions of Black womanhood, offering new visual possibilities for representation, belonging, and desire.

“Painting as a medium for manifestation”
~ Buqaqawuli Thamani Nobakada
nobakada

“Naomi Osaka and The Divine Mother”, 2026 by Rose quartz, amethyst, gold leaf, glass flowers, jade, epoxy, wood, astrot...
05/26/2026

“Naomi Osaka and The Divine Mother”, 2026 by
Rose quartz, amethyst, gold leaf, glass flowers, jade, epoxy, wood, astroturf
H32 x W12 x D16 inches

, the Grand Slam–winning tennis champion whose success and outspoken activism—amid the racism and scrutiny she has (YET AGAIN) faced as a Black and Asian woman in a historically white-dominated sport, has made her - a powerful symbol of strength, identity, resilience and of Black excellence - The title links Osaka with the sacred archetype of the “Divine Mother,” suggesting that in Naomi Osaka and The Divine Mother by vanessa german the athlete is elevated as a modern embodiment of protective, creative, and spiritually powerful Black feminine energy.

Marking the 6yr anniversary of the groundbreaking exhibition, Destinee Ross-Sutton .knee and is proud to present “BlackVoices - Facing Change” currently on view at the Stockholm gallery.

vanessa german (b. 1976) who created this powerful sculpture specifically for the exhibition, is a multidisciplinary American artist whose work spans sculpture, performance, and poetry. Known for her richly adorned “power figures” made from found objects, her practice blends spirituality, activism, and storytelling to confront violence, racism, and healing within Black communities.

We want to credit for the images from her social media ✊🏾👸🏾 from her dinner Paris where she hosted a pre-French Open “Black Party” dinner with Coco Gauff, Gael Monfils, Taylor Townsend, Christopher Eubanks, Asia Muhammad, and other Black tennis stars.

“Growing up, there weren’t a lot of tennis players I could look up to that looked like me,” Osaka wrote on social media.
She added that Black players and players from underrepresented backgrounds often share a bond in tennis that doesn’t need much explaining: “There’s a fellowship, a camaraderie that doesn’t need words to describe.”

and for some of these slides 🙏🏾

The monumental Kerry James Marshall, Untitled (Blot), 84 x 120 inches, estimate $2m-$3m, was scheduled to be sold May 20...
05/24/2026

The monumental Kerry James Marshall, Untitled (Blot), 84 x 120 inches, estimate $2m-$3m, was scheduled to be sold May 20 at Christie’s NY as a major lot for their Marian’s Richters & 21st Century Evening Sale, before being withdrawn prior to the auction.
It had previously sold at Sotheby’s for $2.97m in 2020. The Christie’s estimate was 19% lower than its previous low estimate of $2.5m. ($2.5m to $3.5m)
The seller at Sotheby’s had acquired it in 2015 from David Zwirner NY, it had been exhibited in Venice that year in The Central Pavilion, 56th Venice Biennale.
Also the work by Marshall didn’t sell.

But other than that almost all other works by Black artists sold very well like Deborah Roberts , Rashid Johnson, etc

I would say the estimate for the smaller Marshall was just too high and the large work at Christie’s I guess is just not what lovers of Marshall’s work prefer, even though it did well in 2020, but those were the overall booming times. I did love it though, also for the very reason that it is so different from the style he’s known for.
Lubaina Himid sold of course, very conservative estimate, representing the UK this year, Nick Cave also all over the Biennale, I recall seeing this “Hustle Coat” at his solo at Jack Shainman in 2017.
Beautiful Alma Thomas works (4 in total) all came from a “Private Collection, Potomac”, acquired the year she passed (1978) and some in the early 80s, all sold for at least twice the high estimate.
David Hammons rarely comes up at auction, he has some great work on display NY right now, one work is actually rather similar to this one from the late Robert Mnuchin’s collection.
Loved the Romare Bearden, sold to benefit Dickinson College’s Center for the Futures of Native Peoples, it also made me think of when my Godfather took me to see Bearden when I was a child
The works by , , Barkley L. Hendricks etc were generously donated by the artists & their respective galleries, sold to benefit the Yale School of Art, much needed in these times…

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