Salva Storie Instagram

Introducing Crosscurrent, Issue Eight, Spring/Summer 2026, Cover 2/6:

The Muse

“Birds of a Feather”
Malin by Anders Edström and Danny Reed

Malin wears dress, knit, shirt, and shorts by @prada

Photography by Anders Edström @andersedstrom_fashionworks
Fashion by Danny Reed @reed_danny
Hair by Franziska Presche @franziskapresche
Makeup by Thomasin Waite @thomasin.waite
Casting by Simone Schofer @simoneschofer
Talent Malin Rudnick @malin.rdk
Production by Artistry Global @artistryglobalagency

Founder, Editor-in-Chief & Creative Director Clarke Rudick @itsclarkewithane

See the full story in print. Available via the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

Introducing Crosscurrent, Issue Eight, Spring/Summer 2026, Cover 2/6:

The Muse

“Birds of a Feather”
Malin by Anders Edström and Danny Reed

Malin wears dress, knit, shirt, and shorts by @prada

Photography by Anders Edström @andersedstrom_fashionworks
Fashion by Danny Reed @reed_danny
Hair by Franziska Presche @franziskapresche
Makeup by Thomasin Waite @thomasin.waite
Casting by Simone Schofer @simoneschofer
Talent Malin Rudnick @malin.rdk
Production by Artistry Global @artistryglobalagency

Founder, Editor-in-Chief & Creative Director Clarke Rudick @itsclarkewithane

See the full story in print. Available via the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“A Room with a View,” The Row Summer 2026 by Krisztián Éder and Alex Harrington

Jonah wears all clothing by @therow

Photography by Krisztián Éder @krisztianeder
Fashion by Alex Harrington @alex_jordan_harrington
Grooming by Tamás Tüzes @tamastuzes
Casting by Rachel Chandler @midlandagency
Talent Jonah @__ear_
Production by 102 NYC @102nyc

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“L’an 2440,” an essay by Caroline Sydney

Turning towards utopia in an age of cynicism.

Artwork: Laura, 2023 by Christopher Culver
Courtesy @stuartshavemodernart

—

Read the full essay in print. Available at the link in bio.

#crosscurrent
#croscurrentissueeight
#crosscurrentmagazine

“L’an 2440,” an essay by Caroline Sydney

Turning towards utopia in an age of cynicism.

Artwork: Laura, 2023 by Christopher Culver
Courtesy @stuartshavemodernart

—

Read the full essay in print. Available at the link in bio.

#crosscurrent
#croscurrentissueeight
#crosscurrentmagazine

“Handle Me” by Lengua and Taylor Thoroski

Chloe wears jumpsuit by @maisonalaia and shoes from @pyrnarchives

Photography by Lengua @1engua
Fashion by Taylor Thoroski @taylor_thoroski
Hair by Joe Burwin @joeburwin
Makeup by Cécile Paravina @cecileparavina
Nails by Melvyn Renaud @melvynrenaud
Casting by Julia Lange @julialangecasting
Talent Chloe Paredes @chloe_mpp
Production by Company @company.paris

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Handle Me” by Lengua and Taylor Thoroski

Chloe wears jumpsuit by @maisonalaia and shoes from @pyrnarchives

Photography by Lengua @1engua
Fashion by Taylor Thoroski @taylor_thoroski
Hair by Joe Burwin @joeburwin
Makeup by Cécile Paravina @cecileparavina
Nails by Melvyn Renaud @melvynrenaud
Casting by Julia Lange @julialangecasting
Talent Chloe Paredes @chloe_mpp
Production by Company @company.paris

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Some people are paralysed by the concept of how they can make things happen. I am not.”

Maverick filmmaker #LucaGuadagnino journeys to Paris in between edits of his highly anticipated OpenAI drama, Artificial, for an exclusive interview with Crosscurrent’s Editor-in-Chief Clarke Rudick.

Photography by Mark Borthwick @mark_borthwick
Story by Clarke Rudick @itsclarkewithane

Read the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Some people are paralysed by the concept of how they can make things happen. I am not.”

Maverick filmmaker #LucaGuadagnino journeys to Paris in between edits of his highly anticipated OpenAI drama, Artificial, for an exclusive interview with Crosscurrent’s Editor-in-Chief Clarke Rudick.

Photography by Mark Borthwick @mark_borthwick
Story by Clarke Rudick @itsclarkewithane

Read the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Table Manners” by Matthieu Lavanchy

Leather bag by #BottegaVeneta

Photography by Matthieu Lavanchy @matthieulavanchy
Fashion by Hisato Tasaka @hisato_tasaka
Set Design by Hella Keck @hellakeck

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Dent Road,” by Olivia Reavey

@oliviareavey is an American photographer currently pursuing an MFA at Yale. Under the tutelage of celebrated artists like Justine Kurland and Collier Schorr, Reavey’s work has evolved to explore “morbidness, intimacy, and representations of gender and lust” by simulating a space in which bodily limitations are nonexistent.

For her series Dent Road, Reavey embarked on a road trip with new friends Luke and Fionn, paid for by money from a photography grant. Reminiscent of Philip-Lorca diCorcia’s Hustlers series, in which the artist paid his sex worker subjects with funds awarded to him by the National Endowment for the Arts, Dent Road explores the grey area between reality and fantasy, drawing inspiration from the “shapeshifting abilities” of the phallus to challenge traditional representations of masculinity and the body in photography.

—

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

On April 1, @serpentineuk hosted the launch of @crosscurrentmag Issue Eight with a private tour of our art cover star #CecilyBrown’s solo show, Picture Making, at Serpentine South. Guests enjoyed breakfast provided by @marchesi1824 before attending an intimate exhibition walkthrough with Chief Curator Lizzie Carey-Thomas and Assistant Curator Kit Gurnos.

Thank you @kolia_smirnov and @watnab_

Photography by @ellie.hoffmann

“Cecily Brown: The Return”

Photography by Senta Simond @senta.simond
Story by Clarke Rudick @itsclarkewithane

—

Cecily Brown’s debut show at Deitch Projects in 1997, Spectacle, was an “undeniable crowning,” according to art dealer Sadie Coles.”

Grounded in what Brown described as “orgiastic rituals with an element of black comedy,” Spectacle drew on the chaotic compositions of works by Francisco Goya and Nicolas Poussin, but swapped the teeming bodies for multi-coloured bunnies in a charged series that has become known as her “bunny gang rape” paintings

Lauded collectors Charles Saatchi and Agnes Gund immediately staked their claim. By the time she had turned thirty, Brown had shown three times in three years, joined the roster at Gagosian, and appeared on The Charlie Rose Show and in the pages of Vanity Fair.

Critics were all too quick to dismiss Brown’s work as vacuous and shallow based not only on her proximity to popular culture, but her engagement with more explicit subject matter…“It’s not like I was asking for it or anything, but now I am really shocked at how overtly sexual my early paintings were,” she confesses. “But I didn’t realise how sexist all my reviews were as well! I was naive to think I could get away with it, but I did.”

While a small faction of critics winged, Brown was credited—alongside fellow artists of her generation like Lisa Yuskavage, Dana Schutz, and Peter Doig—with revitalising painting for a new generation.

—

2: Untitled, 1996; oil on linen; 48 x 48 inches (121.92 x 121.92 cm); Image courtesy of Cecily Brown Studio

—

Read the full story in print. Available at the link in bio.

Cecily Brown: Picture Making is on view at Serpentine South through September 6, 2026

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Cecily Brown: The Return”

Photography by Senta Simond @senta.simond
Story by Clarke Rudick @itsclarkewithane

—

Cecily Brown’s debut show at Deitch Projects in 1997, Spectacle, was an “undeniable crowning,” according to art dealer Sadie Coles.”

Grounded in what Brown described as “orgiastic rituals with an element of black comedy,” Spectacle drew on the chaotic compositions of works by Francisco Goya and Nicolas Poussin, but swapped the teeming bodies for multi-coloured bunnies in a charged series that has become known as her “bunny gang rape” paintings

Lauded collectors Charles Saatchi and Agnes Gund immediately staked their claim. By the time she had turned thirty, Brown had shown three times in three years, joined the roster at Gagosian, and appeared on The Charlie Rose Show and in the pages of Vanity Fair.

Critics were all too quick to dismiss Brown’s work as vacuous and shallow based not only on her proximity to popular culture, but her engagement with more explicit subject matter…“It’s not like I was asking for it or anything, but now I am really shocked at how overtly sexual my early paintings were,” she confesses. “But I didn’t realise how sexist all my reviews were as well! I was naive to think I could get away with it, but I did.”

While a small faction of critics winged, Brown was credited—alongside fellow artists of her generation like Lisa Yuskavage, Dana Schutz, and Peter Doig—with revitalising painting for a new generation.

—

2: Untitled, 1996; oil on linen; 48 x 48 inches (121.92 x 121.92 cm); Image courtesy of Cecily Brown Studio

—

Read the full story in print. Available at the link in bio.

Cecily Brown: Picture Making is on view at Serpentine South through September 6, 2026

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Cecily Brown: The Return”

Photography by Senta Simond @senta.simond
Story by Clarke Rudick @itsclarkewithane

—

Cecily Brown works in the studio nearly every day to “keep her hand tight” and to ensure she has a stable of pieces at the ready should a compelling opportunity to show arise. Although she’s been getting more comfortable with commissions as of late, she generally prefers to avoid painting “on assignment.”

“If someone says, ‘Do a painting for this amazing show,’ I will fuck up that painting,” she says with a laugh. “So that’s partly why I just do tons of work and then pick them later.”

In the months prior, she has selected over 50 paintings and drawings from the past three years—alongside a small selection of some of her favourite works dating back to 2001—to ship across the pond for a new exhibition titled Cecily Brown: Picture Making at Serpentine South in London’s Hyde Park. A homecoming of sorts, the much-anticipated presentation will mark the British-born artist’s first institutional exhibition in the United Kingdom in over 20 years.

Initially inspired by a jigsaw puzzle she was gifted by one of her sisters, Picture Making explores Brown’s long-standing fascination with green spaces, children’s books, and the time-honoured tradition of landscape painting. She chose the title as both a challenge to the art world’s condemnation of the “picture” as inherently naive, but also as an acknowledgement of her works’ flirtation with simulacrum.

—

Read the full story in print. Available at the link in bio.

Cecily Brown: Picture Making is on view at Serpentine South through September 6, 2026

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Cecily Brown: The Return”

Photography by Senta Simond @senta.simond
Story by Clarke Rudick @itsclarkewithane

—

Cecily Brown works in the studio nearly every day to “keep her hand tight” and to ensure she has a stable of pieces at the ready should a compelling opportunity to show arise. Although she’s been getting more comfortable with commissions as of late, she generally prefers to avoid painting “on assignment.”

“If someone says, ‘Do a painting for this amazing show,’ I will fuck up that painting,” she says with a laugh. “So that’s partly why I just do tons of work and then pick them later.”

In the months prior, she has selected over 50 paintings and drawings from the past three years—alongside a small selection of some of her favourite works dating back to 2001—to ship across the pond for a new exhibition titled Cecily Brown: Picture Making at Serpentine South in London’s Hyde Park. A homecoming of sorts, the much-anticipated presentation will mark the British-born artist’s first institutional exhibition in the United Kingdom in over 20 years.

Initially inspired by a jigsaw puzzle she was gifted by one of her sisters, Picture Making explores Brown’s long-standing fascination with green spaces, children’s books, and the time-honoured tradition of landscape painting. She chose the title as both a challenge to the art world’s condemnation of the “picture” as inherently naive, but also as an acknowledgement of her works’ flirtation with simulacrum.

—

Read the full story in print. Available at the link in bio.

Cecily Brown: Picture Making is on view at Serpentine South through September 6, 2026

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Cecily Brown: The Return”

Photography by Senta Simond @senta.simond
Story by Clarke Rudick @itsclarkewithane

—

Cecily Brown works in the studio nearly every day to “keep her hand tight” and to ensure she has a stable of pieces at the ready should a compelling opportunity to show arise. Although she’s been getting more comfortable with commissions as of late, she generally prefers to avoid painting “on assignment.”

“If someone says, ‘Do a painting for this amazing show,’ I will fuck up that painting,” she says with a laugh. “So that’s partly why I just do tons of work and then pick them later.”

In the months prior, she has selected over 50 paintings and drawings from the past three years—alongside a small selection of some of her favourite works dating back to 2001—to ship across the pond for a new exhibition titled Cecily Brown: Picture Making at Serpentine South in London’s Hyde Park. A homecoming of sorts, the much-anticipated presentation will mark the British-born artist’s first institutional exhibition in the United Kingdom in over 20 years.

Initially inspired by a jigsaw puzzle she was gifted by one of her sisters, Picture Making explores Brown’s long-standing fascination with green spaces, children’s books, and the time-honoured tradition of landscape painting. She chose the title as both a challenge to the art world’s condemnation of the “picture” as inherently naive, but also as an acknowledgement of her works’ flirtation with simulacrum.

—

Read the full story in print. Available at the link in bio.

Cecily Brown: Picture Making is on view at Serpentine South through September 6, 2026

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Another Round,” Celine Spring/Summer 2026 by Ola Rindal and Vanessa Reid

1: River wears wool and silk t-shirt, cotton shirt, wool trousers, and leather belt by @celine

2: Matilde wears wool jacket, cotton shirt, denim trousers, and leather belt by @celine

Photography by Ola Rindal @olarindal
Fashion by Vanessa Reid @vanessareidofficial
Hair by Akemi Kishida @akemi_kishida
Makeup by Mel Arter @melarter
Casting by Samuel Ellis Scheinman @samuel_ellis
Talent Matilde and River @matilde.lcd @_riverklein
Production by Thelink Mgmt @thelinkmgmt

Founder, Editor-in-Chief & Creative Director Clarke Rudick @itsclarkewithane

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine

“Another Round,” Celine Spring/Summer 2026 by Ola Rindal and Vanessa Reid

1: River wears wool and silk t-shirt, cotton shirt, wool trousers, and leather belt by @celine

2: Matilde wears wool jacket, cotton shirt, denim trousers, and leather belt by @celine

Photography by Ola Rindal @olarindal
Fashion by Vanessa Reid @vanessareidofficial
Hair by Akemi Kishida @akemi_kishida
Makeup by Mel Arter @melarter
Casting by Samuel Ellis Scheinman @samuel_ellis
Talent Matilde and River @matilde.lcd @_riverklein
Production by Thelink Mgmt @thelinkmgmt

Founder, Editor-in-Chief & Creative Director Clarke Rudick @itsclarkewithane

See the full story in print. Available at the link in bio.

#crosscurrent
#crosscurrentissueeight
#crosscurrentmagazine