By warping the perceived roles and aesthetics of everyday objects, Jes Fan makes space for marginalized identities and conversations.
‘Dada Presentism: An Essay on Art and History’ is an exposé of the conflict between conscious and unconscious forces.
To accompany its retrospective on Lygia Pape, the Met Breuer organized a reenactment of the artist’s performance “Divisor,” where up to 225 people parade the streets under a giant sheet.
Some days you lack a clear perspective.
Over the course of 2017, Chris Templeman’s “Make and Take” installation in Boston’s Rose Kennedy Greenway is 3D printing over 2,000 free roosters to celebrate the Year of the Rooster.
Andrés Waissbluth’s Un caballo llamado Elefante (“Elephant, the Horse”), playing at the Museum of Modern Art, is a charming reversal of the trend toward animation.
In the 1870s, New York tinsmith William Chappel painted nearly 30 views of the city of his childhood, when peddlers hawked their wares, whale oil illuminated the night, and fresh water was a scarcity.
Zoe Buckman takes issue with the voice of command, teasing out how patriarchal authority permeates our ideas of femininity and the ways we deal with women’s bodies.
On April 1, Alan Abel will discuss a half-century of hoaxes and satiric scams he’s pulled off, from prank political campaigns to faking his own death.
Opening this Saturday at Landing Gallery, Signifying Form features sculpture by African American women artists working in Los Angeles between 1935 and 2016.
He created 403 paintings for the popular TV series, and now you can search through them.
“Planning for the Future” examines efforts underway in three Philadelphia neighborhoods to productively combine approaches from art and urban planning to make neighborhoods better.