All of the works in Material as Message ask us how we come to remember, through materials that suit the memories they’re trying to preserve.
“It is our responsibility — whether we are Native or not — to educate ourselves about whose land we are on,” writes artist Cara Romero.
To enter Rego’s paintings of the 1980s is to step into a tumbling, chaotic world of animals living out modern human life.
Through textural, analog works that neither beep nor boop, artist Analia Saban has crafted a poetic commentary on our digital existence.
Much of Remain in Light jumps back and forth between Los Angeles and Armenia, underscoring the blurriness of living in diaspora.
Both the tarot and Carrington’s work are in the midst of a revival that has the world re-evaluating our relationship with nature, the earth, and our place in it.
Restaurants are restorative, perhaps, for those eating, but they can also be grueling places of labor that tax workers’ bodies.
All the little things we buy that look simple come from somewhere thanks to a series of interlocking, complex chains and sequences.
A new show of plein air painting in California offers a compelling take on our relationship to land and what it means to spend time trying to understand the outdoors.
Fiona Connor’s “Continuous Sidewalk” tells the story of a city where many people walk every day as part of their lives, livelihoods, and just for a casual stroll.
To sit with Haring’s expansive artworks is to travel back in time and understand that the world of the 1980s is not so far from today’s.
Knowledge and literacy in their many forms are at the heart of a small but rich show by the art collective.