Mark Manders’ Tilted Head is a work of fiction. It has the appearance of unfired clay combined with everyday objects but in fact is made entirely of cast bronze. The cracks and fissures that cover its surface imply an organic process of drying and decay, yet its metal form is fixed. It might suggest an incomplete model, abandoned in the artist’s studio, if not for the fact that its colossal size and civic location lend it the air of a grand monument. Eyes shut, the androgynous figure’s mask-like features are at rest, undisturbed by an abrupt slice through a third of its face. The unfinished side of the head is held as if in a splint by wooden planks, one tied with rope. At the back, chairs and a suitcase, all slightly reduced in size, protrude from a mass of formless material. These shifts in scale, unexplained objects, and trompe l’oeil bronze effects alter our perception and spark the imagination.

Tilted Head is on display at Doris C. Freedman Plaza in Central Park until September 1st, 2019. Check out the exhibition page to learn more about Mark Manders' impressive sculpture.

Orwasher's Bakery on the Upper West Side of Manhattan has been serving New Yorkers delicious pastries, sweets, breads and desserts for over a century. In this video from our friends at Food Insider, watch as the bakery prepares some of their items from scratch.

Orwashers has been a New York institution since 1916. Today, there are two brick-and-mortar locations plus a giant production facility in the Bronx that supplies restaurants and markets throughout the area. We visited the Upper West Side location to learn how to make legendary bread alongside the owner. Then we visited the massive production facility for an exclusive behind-the-scenes tour.

Andy Warhol—From A to B and Back Again is an interesting exhibition at the Whitney Museum of American Art in Manhattan's Meatpacking District. In this short time lapse video from the museum, watch as Whitney associate conservator Matthew Skopek and conservation department intern Sara Kornhauser prepare "Ethel Scull 36 Times" for the exhibition.

While the work looks like one giant canvas, it is actually 36 individual smaller ones that need to be carefully mounted together. Previously, the canvases had been attached to four cleats, one for each row. However, most of the canvases are not quite a perfect square, so the resulting rows weren't perfectly straight. Installing the work resulted in a bit of a dance, requiring the removal and re-hanging of the rows multiple times to get them to fit. For this project, all 36 of the portraits were removed from their cleats and mounted on a unified strainer. This final group mounting allows for quicker installation, which reduces handling and is safer for the artwork.

Catch the exhibition at the Whitney Museum until March 31st, 2019.