crosscurrent

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

“The Collector,” A life in photography with Vince Aletti Photography by Duane Michals @theduanemichals Interview by Clarke Rudick @itsclarkewithane — Critic and curator Vince Aletti has been passionate about images since he was a child thumbing through his father’s collection of US Camera. Now in his 80s, Aletti remains one of the most formidable voices in photography criticism (he was the photography critic for The Village Voice for twenty years and is a regular contributor to The New Yorker’s Goings On About Town column) and one of the most passionate collectors of photography monographs, catalogues, magazines, and ephemera. Alongside legendary artist Duane Michals, Crosscurrent visits Aletti’s apartment in The East Village to discuss criticism, identity, and his friendship with the late Peter Hujar. — Read the full story in print. Available at 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

“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

“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

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 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