Nothing Is to Be Done for William T. Wiley is a roller derby of irreverent and energetic ideas and a serious revelation about Northern California’s art historical significance.
Artist Kyle Staver’s portrayal of the mythic hero feels balanced, as if to say: sure, the 12 labors are absurd, but isn’t all human endeavor?
These are works in the tradition of Light and Space, but instead of light, Brian Wills works with the earthy media of paint and colored thread.
Both male and female faculty internalize the idea that responsibility for raising children precludes serious art and then they recapitulate it.
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.