This week, surrealist photography, the new anti-semitism, fighting the corporatization of Burning Man, the monotony of contemporary architecture, Lagos’s art scene, and more.
Jasmine Gibson’s training as a psychoanalyst seems to permeate the organization of her poems’ imagery.
Malech poems foreground the beauty and power of form in her willingness to follow its constraints uncertain of the end result.
In these works, we are looking at a merging of organization and dissipation, an image of our destiny.
Fini’s art disarmed male authority and dissolved gender norms, with delicate, nude men attended by sumptuously dressed, leonine females.
Four introspective new albums depict the outside world in microcosm.
Campbell implies that there has been one constant in the experiences of women across generations: the sexual aggression of men.
New books by Ingrid Sischy and Gary Indiana expand our understanding of a crucial decade.
All the LA-centric promotion of Frieze has bled into the fair, and flattened everything into commodity.
At the inaugural Felix Art Fair in Los Angeles, visitors can weave in and out of the poolside rooms with relative ease, though expect the usual hustle-and-bustle feel of art commerce in action.
In PURE, VERY, NEW, Paul Stephen Benjamin’s conceptual art pushes the boundaries of the color black and offers new experiences of sound, vision, and light.
As usual in large commercial fairs, most of what you’ll see at Frieze quickly devolves into so much product, but there is still some soul to be found amongst the gaudy baubles.