Rose Vickers
Rose Vickers is one of the top influencer in United States with 11635 audience and 1.99% engagement rate on Instagram. Check out the full profile and start to collaborate.
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United States, New York City
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Standout projects making waves around the web
This year, life was very simple. My smaller world grew me, and I was fully found by life in unexpected ways. Thank you for your hand in mine. Go gently ???? ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Image: #TaubaAuerbach & #DiagonalPress at Bard College Stevenson Library; via artist Sean Sullivan @parade.pimlico.pearl
2026-02-27
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Last year, my life changed. I was diagnosed with a rare, degenerative neurological disease that affects the brain, spine and nervous system: Complex Regional Pain Syndrome Type 2 (CRPS2). It started in my left foot, then spread to both legs. I haven’t shared much, but last year's videos of me in neurological therapy were just a hint at what I was going through after my diagnosis. CRPS is the most painful incurable disease in the world, and ranks as more painful than amputation and childbirth without anaesthesia. With treatment, CRPS can go into remission. Since last year, I’ve been immersed in procedures, therapies and medications; battling a broken US healthcare system, which nevertheless has top research and specialists. My journey has taken every ounce of my strength and resources — in part, because rare diseases like CRPS2 are often barely covered by insurance. They impact tiny population samples and are usually understudied, meaning that effective treatments are often prescribed “off-label”. Recently, the non-profit Burning Limb Foundation established a fundraiser to help me attend a life-changing clinic, one I’ll be starting next month. If you feel moved, have enjoyed my art posts over the years, and want to be a part of my healing journey, please consider a donation through the link in my bio. And if you can, please share this post, and write something nice in the comments. Anything you can contribute will help me beyond words. Thank you for reading this, and thank you for being a part of my world.
2026-02-27
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#JohannesVanDerBeek, Wall (Light Step), 2012
2026-02-27
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Johannes VanDerBeek probes themes of transformation and evolution, employing a diverse range of materials like ceramic, metal, plaster, and found objects. These creations range from abstract forms to figural representations, each highlighting his distinctive approach to material and form. His pieces are marked by a juxtaposition of the familiar and the surreal, creating visual narratives that bridge the gap between reality and fantasy. Slide 1: Johannes VanDerBeek, Figure Study with Cup, 2013 Slide 2: Johannes VanDerBeek, Sandy Language, 2014 (detail)
2026-02-27
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I'm moved to see my journey and post-PhD life spotlighted by GLAM at the University of Sydney, and published in their School of Art magazine. As an alumni, it’s touching to have my career trajectory shared within a community that played such an instrumental role in its inception. My story is a testament to the power and importance of public education in Australia, particularly in providing access to the arts. Grants enabled me to pursue and obtain three out of my four degrees from USYD, including my PhD. Education is a pivotal gateway, and when it’s accessible, it has the potential to transform lives and communities ♾️ Slide 1: Various Small Fires, Los Angeles (a while back) Slide 2: GLAM @sydney_uni, “Searching for Smithson: Rose Vickers” Slide 3: Studio visit with @BradKahlhamer, Bushwick Slide 4: Robert Smithson, Chalk Mirror Displacement, 1969 Slide 5: Robert Smithson, Hotel Palenque, 1969/72 ???? #accesstoart // Link in my bio ????
2026-02-27
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Opening tonight @nathaliekarggallery | Katja Strunz, “Restored Spalls: Unfolding While Falling” 6 — 8 PM, 291 Grand St, New York ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ‘Strunz has long worked with splintered and fractured triangular forms, colliding fragments together—both collaged on the page and held within the container of the gallery space. This practice reflects her interest in Walter Benjamin’s literary montage, where precise fragments open to a wider wholeness. Yet these are not linear histories selling a myth of progress; here we see the tension in actively attempting to apprehend the whole, yet perceiving only fragments. Just as past trauma re-actualizes, these spalls or splinters break apart and come together, materializing the space between indeterminacy and entanglement, suggesting possible restoration’ — Dr. Melinda Johnston ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Image: Katja Strunz, ‘Told, Untold, Retold’, 2023
2026-02-27
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How will I find you again, when there are no roses, pathways for bare feet? Image: Luz Carabaño, Revuelto, 2022, from exhibition 'Unfoldings'
2026-02-27
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In with the new, best foot forward. Heart full of love for everyone who came on this wild, fortifying #CRPS journey with me this past year. I could not have done it alone ????
2026-02-27
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Nathlie Provosty's paintings are characterized by their bold use of color and dynamic composition. She often works in series, using a single color or shape as a starting point and building complex patterns and forms around it. Her work is influenced by a wide range of sources, including modernist abstraction, Eastern calligraphy, and the natural world. Provosty’s poetic titles suggest a deeper meaning—inviting viewers to contemplate the mysteries of the universe and their place within it. Image: #NathlieProvosty @ica_milano curated by @_albertosalvadorii — on view until April 22
2026-02-27
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