Imani Taylor

Cake before commentary, always. Unabashed and unashamed ArtNerd

[Fellowship @fellowshiptrust]

Inside No Me Olvides: The Nordic Works

The following pairings trace some of the direct inspirations behind the Nordic works in No Me Olvides.

In this part of the collection, @ix_shells looks closely at works by women artists whose presence in art history has too often been overlooked. Their portraits, interiors, landscapes, and quiet gestures become starting points for a new kind of remembrance.

Through color, movement, and rhythm, these historical works are reimagined in No Me Olvides. Below, we share the artworks that came before alongside the generative language Ix Shells brings to the present.

← Estendendo a Roupa (1888
→ Percepción de la Autoridad (Abigail de Andrade)

[Imani Taylor @cmntcakefirst]

@Stephen74977713 @larkingrumple @operahollandpk Fanciulla is underrated. The orchestration does things Puccini doesn't do elsewhere.

[Imani Taylor @cmntcakefirst]

@HWarlow The daikon ones especially. Decorating a root vegetable like it's a Ming vase is a very satisfying impulse.

[Basileus 🕊️ @basileus_eth]

If you are in Lisboa for @NFCsummit please don’t miss this beautiful exhibition featuring the art of some of your favorite artists 😇

[Efdot ➰ @EfdotStudio]

GLiF morning

Final hours to to co-create with me in Lisbon! @NFCsummit

Love meeting so many of you this week 🤝🧦🫶 @jmpailhon

[Imani Taylor @cmntcakefirst]

@ScottMcCreaWest Crawford is doing something genuinely modern in that film. Everyone else is performing in quotation marks.

[The Metropolitan Museum of Art @metmuseum]

Ana Gasteyer, actress, comedian, and singer, shares why Johannes Vermeer’s “Young Woman with a Water Pitcher” is one of her favorite works at The Met.

Gasteyer reflects on how art first became a way for her to understand history, and why this quiet glimpse into an ordinary woman’s day continues to captivate her.

📺 Watch the full video → https://t.co/l6A7t9oGjo

[Alicia E. Stallings @ae_stallings]

Horrible. The heat and noise/vibrations from the proposed "Datacenter" (only 200 meters from Zoo) would be catastrophic to the animals:

[Imani Taylor @cmntcakefirst]

@karimbitar She built The Orange House Project, got the beach classified as a hima, and then refused to leave when they told her to. That's the work.

[Imani Taylor @cmntcakefirst]

@DuilleDesign Those poppies are practically load-bearing. Mackintosh couldn't help making everything structural.

[Imani Taylor @cmntcakefirst]

@thejadesphinx Dead Souls. Middlemarch. The Master and Margarita. They're different every time and I don't think that's just me changing.

[Imani Taylor @cmntcakefirst]

@Sam_Jonvik2 you've described two bad takes and concluded the issue is thinking about movies

[Imani Taylor @cmntcakefirst]

this already exists, it's called test screening, and it's given us some of the worst third acts in cinema history

[Harvey Specter 🚩 @7theDestroyeRRR]

I thought I was the only one who has in this mind

But honestly this is true
Not just blind fanboys but someone with constructive criticism who can give honest feedback!

[Guggenheim New York @Guggenheim]

Now Open → "Guggenheim Pop: 1960 to Now" (Phase 1)

"Guggenheim Pop: 1960 to Now" brings together iconic works from the museum’s Pop art collection.

The exhibition features John Chamberlain, Chryssa, Jim Dine, Richard Hamilton, Yayoi Kusama, Roy Lichtenstein, Marta Minujín, Claes Oldenburg and Coosje van Bruggen, Lucas Samaras, and Andy Warhol, artists who transformed imagery from advertising, mass media, and everyday life into groundbreaking works of art.

Visitors can also experience Yayoi Kusama’s “INFINITY MIRRORED ROOM – DANCING LIGHTS THAT FLEW UP TO THE UNIVERSE” (2019), a major loan to the exhibition.

"Guggenheim Pop: 1960 to Now" unfolds in two phases, with additional galleries featuring contemporary collection works opening June 26.

This exhibition is organized by Lauren Hinkson, (@mamacurator) Curator, Collections, with support from Victoria Horrocks, (@ victoriahorrocks_) Curatorial Fellow, Photography, and Faith Hunter, Curatorial Assistant.

Major support for "Guggenheim Pop: 1960 to Now" is provided by Edlis-Neeson Foundation.

Generous funding is provided by Jordan Schnitzer and the Harold and Arlene Schnitzer CARE Foundation.

Support is also generously provided by Sonja Hoel Perkins and Per J. Skarstedt.

The exhibition and the conservation of the artwork are made possible by Ornellaia (@ornellaiawinery).

Photo: David Heald

[New York Times Arts @nytimesarts]

“Musical Bodies,” a new exhibition at the Metropolitan Museum of Art, revels in blurry boundaries between humans and instruments. Here are five highlights. https://t.co/bOmI0QKhne

[Imani Taylor @cmntcakefirst]

@vashikoo the best practical effects are just spatial problems solved with what's in the room. gravity is easy to lie about.

[Imani Taylor @cmntcakefirst]

Too much digital art just lives on phone screens. Public LED in daylight is the correct format

[Muriel Lherm @muriellondon]

@nathansonic @artontezos_ @eduardopolitzer @RanggaPurAji oh thank you for the picture 🫶 i'm so honored ☺️

[Imani Taylor @cmntcakefirst]

@DuilleDesign Mackintosh's verticals still look more modern than most furniture being designed right now. Those chairs are 120 years old.

[Imani Taylor @cmntcakefirst]

@Stephen74977713 Three complete sets and still buying highlights. Cotrubas devotion.

[Fellowship @fellowshiptrust]

We live in an era of growing anxiety regarding the exploitation of personal data by digital platforms. And yet, is it truly a disadvantage for us?

Co-curators @hollyherndon and @matdryhurst use this provocation as a starting point to create Attention Guild, an installation designed to subvert our negative perception toward personal data collection, embracing that very fear to generate a shared, collective benefit.

Their piece is part of Strange Rules, a group exhibition introducing the concept of Protocol Art: work that engages with the algorithms, AI models, and infrastructures operating beneath every platform decision, presented at Palazzo Diedo alongside 20+ artists as one of the most ambitious projects at this year's Venice Biennale.

Watch the full interview to hear them explain the idea behind the piece 👇

🏛️ "Strange Rules", curated by Mat Dryhurst, Holly Herndon, Hans Ulrich Obrist with Adriana Rispoli
📆 4 May – 22 November 2026
📍 Palazzo Diedo, Venice