“Chinese migrants arriving in the 19th century didn’t speak Spanish — had no knowledge of the language — and found themselves in an adverse environment,” curator Marco Loo tells Hyperallergic.
This week, a history of Porgy and Bess, talking to Simone Leigh, Amy Sherald, and Lorna Simpson, history of the Art Institute of Chicago’s lions, otters chasing a butterfly, and more.
At the Everson Museum in upstate New York, a mini-retrospective highlights the timeliness of the artist’s enduring humanistic and nature-focused themes.
Hirst has been an erratic artist from the beginning, just as likely to fail as to succeed.
In Relative Brightness the canvas transforms into a rippling, luminous field of ever-shifting optical sensations.
Schjeldhal moves quickly to characterize an artist, like a cat pouncing on his prey.
Josiah McElheny’s glass vessels concentrate the ethereal and boundless into the finite and physical.
Gary Petersen is a highly intelligent painter, which is to say he has absorbed a lot of art history and, more importantly, is at ease with it.
During her lifetime, Sonia Gechtoff was feted on the West Coast and for many years showed her work in New York, but the art world has yet to adequately address her achievement.
These solo shows from Luke Ching Chin Wai and South Ho Siu Nam draw parallels between the typhoons and showers of these regions and the unpredictability of authoritarian policies and resulting civilian uprisings.
Holly Hendry’s works offer an innovative view on the repurposing of materials in art, exploring how things usually considered to be trash can be recycled.
Kirkland Dawson, a 34-year-old attorney, toppled over the staircase railing and landed on the ground floor at a party at the museum.