Nickson’s interests lie in the individual’s place in a world shaped by immensities of land and water, sky and cloud.
Feldschuh understands that the actions and interactions of particles can be formulated mathematically but not illustrated visually.
Diane Burko’s images of melting glaciers and dying coral reefs are not just pictorially impressive; they have strong emotional impact.
The Pattern and Decoration movement was a hard-charging assault on traditions both ancient and oppressive. It was also an explosion of joyously liberated impulses.
The media almost always overlook what is truly interesting about fakes: not who made them, who sold them, or who was in on the scam and who was not, but what they tell us about art and those who produce it.
Pousette-Dart embraces the world without representing it.
To respond to an animal in Harrison’s imagined world is to grasp how closely its existence is linked with that of all the others.
Each work in Marden’s series Cold Mountain Studies is the trace of a transient intention, and their variety is potentially infinite.
Throughout his career Kirili has evoked the body in his abstract sculptures, in an era when sculpture has often sidestepped the human form.
In Natvar Bhavsar’s art, all is in flux; everything is both what it is and all that it might become.
The Whitney has not had the moral courage to reject support from a benefactor who generated his wealth in socially irresponsible ways.
Richard Nonas’s sculptures alert each of us to the specificity of being — in a specific time and a specific place.