In a new graphic nonfiction book, Kristen Radtke interrogates this pervasive but often shame-filled aspect of the human condition.
When we have more opportunity to interact with art on our own terms, there are more places to hide from its difficult truths, particularly viewers who have the privilege to do so.
At the Portland Biennial, artists offer an unfiltered view of the state of Oregon at this moment. Carla Rossi’s tour of Vaseline Alley as a drag “clown” is one of the highlights.
I found myself considering a new type of flâneur while surrounded by the work of Bay Area artist Minoosh Zomorodinia.
Alison Marks’s sculptures, paintings, and textiles often appear gently familiar, but then take a deeper, more troubling turn.
The ability of the Vancouver Art Gallery to maintain its commitment to local artists will be the true test of the triennial’s success.
PORTLAND, Oregon — “Now, you’re dead inside,” the gallery assistant said.
TACOMA, Wash. — Your eye is desperate for a focal point when you look at Rodrigo Valenzuela’s “Goal Keeper #1” (2014).
SEATTLE — “Home Prices Bring Smiles, Tears.” “Anti-Homeless Attacks Won’t Solve Problem.” When I saw these headlines running across the Seattle Times and Seattle Weekly newspapers earlier this month, a single sentence flashed through my mind, on repeat: “Housing is a human right.”