COVID-19 demolished the canard that serious work is incompatible with family life. We can no longer entertain the illusion that raising children requires a total sacrifice of any other endeavor.
Beauty remains an uncomfortable territory for many contemporary artists, which makes the boldness of Sarah Ann Weber’s aesthetics all the more compelling.
The Interlude Artist Residency in the Hudson Valley gives artists focused time to work “without ignoring the real and often conflicting requirements of parenthood.”
Amir H. Fallah, Ellen Lesperance, Joyce Kozloff, and other artists share their experiences with residencies.
It is past time that Williams receives the institutional attention he deserves.
Packed with traced and freehand marks, Mehretu’s artworks inspire awe of what might be called an informational sublime, a 21st-century twist on the artistic tradition.
The technical mastery of Annie Lapin’s paintings is like that of a juggler who can simultaneously toss balls, bowling pins, flaming torches, and a chainsaw.
In his current exhibition, Belott degrades the modernist grid, making it lumpy with swollen puffs that participate in the artwork’s visual order while satirizing it.
At the Broad’s iteration of Soul of a Nation: Art in the Age of Black Power, there is scarcely a work that does not demonstrate how deeply we are struggling with the same issues that concerned Black artists a half-century ago.
Rema Ghuloum’s life-affirming response to this loss has been to make paintings whose direct and unapologetic pursuit of beauty feels rare.
As usual in large commercial fairs, most of what you’ll see at Frieze quickly devolves into so much product, but there is still some soul to be found amongst the gaudy baubles.
An exhibition pays tribute to the wondrous vision of a Los Angeles-based artist who died this year at the age of 37.