Poetic and subtle, her work invites viewers to contemplate each material as it changes, or stays the same, over time.
Like a salacious game of eye-spy, Anne Buckwalter’s paintings invite viewers to share in a semi-secret rendezvous.
Humane Ecology at the Clark Art Institute asks viewers to consider different interpretations of nature, including those of people who have been marginalized, silenced, and erased.
With her solo show at the Watermill Center, Regina José Galindo considers how a universal object — the body — can speak to issues of human rights.
As he grappled with anxieties related to his family, sexuality, and fear of AIDS — to which he would succumb at the age of 33 — Ellis meticulously documented his life.
Sterling Wells’s makeshift studio-raft was dragged out of the water and damaged after online reports described it as a possible unhoused encampment.
Talia Levitt homes in on the everyday people, animals, and urban infrastructure that are emblematic of New York, but not often celebrated.
The artist draws inspiration from her own migration to consider both the confinement and freedom associated with a life in motion.
For too long, the New York potter was mistakenly identified as White and of French descent.
In taking aim at contemporary corporations, especially oil companies, Cuevas draws a connection between colonization, trade, and the devastation of the natural world.
Philipsz’s haunting sound and video artworks serve as a poignant witness to the lives and artistry of victims of the Holocaust.
Contemporary society in the United States normalizes the idea of the exhausted mother, so why wouldn’t mother nature be equally exhausted?