Sullivan’s frescos are original and surprising but also wry and even feisty; she both embraces and enhances the clunkiness of the medium, animating her subjects.
Auslender’s art brings personal associations and a sense of intimacy to images of torture based on the crimes of Argentina’s ruling junta from 1974 to 1983.
Murch’s painted dust can be so tangible you feel compelled to wipe off the picture.
Young Sun Han’s art explores sometimes painful, sometimes revelatory aspects of his family’s narrative and Korean history more generally.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
A retrospective pays homage to the pioneering artist and curator, who passed away last year.
Thalia Field’s poems collage scientific, historical, and philosophical sources to explore speciesism.
Ungaretti should be numbered among the ranks of such Great War poets as Wilfred Owen, Siegfried Sassoon, and Isaac Rosenberg.
Jon Imber, who succumbed to ALS in 2014, emulated Guston, de Kooning, and others while developing a provocative and personal vision of figure and landscape.
Neely has created paintings that respond to some of the major issues of the day: climate change, environmental water loss, and immigration.
Susan Barba’s poems are both environmental plea and protest, at once personal and broad.
A tree is never just a tree, a water source is never just a water source in the works of Barbara Moore and Sharon Adamson. “They’re all signs of ancestral action.”