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.
What kind of house is this, that ping pongs between two- and three-dimensional representations that are merely fantasy or merely decorative and pieces that have clear utilitarian use?
They ask the biennial participants to feature artists affected by Decree 349, or wear T-shirts opposing the decree during their time in Cuba.
This week was a snowy one in Brooklyn, so Hyperallergic editors decided to gather and chat about some of the stories we’ve been reporting on.
The exhibition is curated by Miguel A. López (TEOR/éTica and Lado V, San José, Costa Rica). On view through May 4, 2019.