Sooner or later, we all wake up to wrinkles and gray hair. Yet what’s most frightening about aging isn’t necessarily the sagging skin or stiff joints, but the prospect of growing invisible to society — that people will somehow stop really seeing you.
It was in hopes of casting a more loving and empathetic spotlight on the elderly that Patrícia Monteiro created her series Life Ever After, which invites audiences into the lives of old women who live in Manhattan and still walk its streets every day. Though most have lost their spouses, their days are still full. One image captures 86-year-old Sonia Goldstein applying powder to her cheek as she prepares to meet a friend for dinner and a play on the Lower East Side. Another shows Chelsea resident Claire Gottfried slurping down the last drops of milk from a bowl of cereal she’s methodically prepared for breakfast.
It’s easy to admire these women, who seem to embrace life as it comes. I can’t help but hope I’ll one day be as undaunted. As Monteiro told me, “In the end, growing old alone is both sad and inspiring, because you have to really be independent and love the life you have. Life doesn’t end when you reach your eighties.”
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.
Many in the local Ukrainian community want the museum’s name to be changed to reflect the many artworks in its collection by artists from former Soviet states.
Lisa Ericson renders her real-world subjects beautifully, but the situations in which we find them are uncanny, menacing, and unexpected.
Contemporary society in the United States normalizes the idea of the exhausted mother, so why wouldn’t mother nature be equally exhausted?
Field of Vision’s latest free streaming offering focuses on a vulnerable population put at risk, told through the stories of those inside.
Tsai’s style is the opposite of boring; in demanding the viewer’s attention, he allows for incredible moments of human connection and discovery.
Over 4,000 artists have signed on to the event, with a nifty online directory listing paintings, sculptures, ceramics, and much more.