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.
Pruitt unexpectedly makes draftsmanship feel relevant, even urgent.
For Wurtz, self-knowledge is not found on a psychoanalyst’s couch or a remote mountaintop, but in the things with which we surround ourselves.
Though her art shares common ground with Sol LeWitt, with whom she had a warm correspondence and even traded work, Horwitz was not granted even a fraction of his renown.