If this kind of wacko fear-mongering is part of the new American norm, I think the best thing art can do is spook us out of this existence.
Painters who lived and exhibited in New England, like Jake Berthot and Porforio DiDonna, are highly represented. They, like Stockwell, have straddled the line between tough material abstraction, nature, and the figure.
Gliding and burbling, ringing and spattering and glitching, a lyrical escapism animates an album whose loveliness and silliness are inextricable.
Richard Maxwell’s style can be off-putting or self-defeating, yet its virtues are manifest in this piece.
It makes sense, at this most critical moment, to take a serious look at the art of the 1980s, its political fury and layered poetics, as an anchor in the storm.
Making a brushstroke painting in the mid-1970s — a decade after Greenberg, Stella, and Lichtenstein gleefully presided over its burial — was foolhardy and brave.
Mark Fox and Angie Wang’s Symbols: A Handbook for Seeing is a guide to the evolution of symbolism using 400 examples from art history.
An exhibition at the Govett-Brewster Art Gallery demonstrates how Lye strove to evoke concrete feelings through fleeting motion.
Hidden Folks is a hand-drawn game of discovery by Adriaan de Jongh and Sylvain Tegroeg where you find hidden people and objects in an illustrated world.
Artist, educator, curator, and writer Linda Weintraub is a serial homesteader. “It never occurred to me that I would not design my own living space,” she says.
In a lecture at MoMA PS1, Genesis Breyer P-Orridge will trace how their beginnings in the music scene helped them to shatter preconceived notions of gender.
The VR experience accompanying Small Wonders at the Cloisters in New York is an immersive tour through the angels and demons of a tiny 16th-century prayer bead.