At MoMA PS1, Spero’s work is presented with current political and cultural contexts in mind.
Rockburne insists that her work has a mathematical basis, yet her most moving creations are those least tethered to a methodical, rational approach.
Drawing on many genres and styles, Vo meditates on history, freedom, love, faith, and death.
In three recent volumes, artists express nostalgia for the smaller, scrappier New York art world.
Wye provides an expert overview not only of Bourgeois’s prints and artist’s books, but her work as a whole.
Pictures like Diane Tuft’s and Stefan Hunstein’s eventually may be all that remains to remind us of the Arctic’s terrible beauty.
Besides examining in-depth both the early and late Maine periods, Marsden Hartley’s Maine includes a fine essay on materials and techniques, based on careful examination of a dozen works, which shows a surprising continuity in composition and methods across Hartley’s career.
The dream of a completely immersive visual experience haunts modern art. The most famous example in painting, Monet’s Waterlilies installation, dedicated in Paris’s Orangerie in 1927, has behind it a rich history of popular entertainment: the panorama, invented in the late eighteenth century and a mass entertainment medium in nineteenth-century Paris; similar productions elsewhere include the immense Civil War cycloramas produced in the U.S. before 1900.
An Opening of the Field: Jess, Robert Duncan, and Their Circle presents a slice of the rich Northern California art world of the postwar years. Much of what is here is not “gallery art,” in a commercial sense, but art created by and for a small community of friends, colleagues, and lovers, rooted in a specific place and cultural moment.