Fred Tomaselli’s incorporation of printed news in his paintings long before the pandemic now seems downright prescient.
Fear — so pervasive these days — has long been an important theme for Neuenschwander.
This thoughtfully curated exhibition is evidence that much compelling and adventurous art is indeed being produced all around the country.
With their exhibition, Look, it’s daybreak, dear, time to sing, Richard Ibghy and Marilou Lemmens investigate the complex, cross-species relationship between birds and humans.
It is not surprising that a music star would have an exhibition at an art gallery. What is surprising is how compelling and meaningful this show, by Sigur Rós frontman Jónsi, really is.
Josiah McElheny’s glass vessels concentrate the ethereal and boundless into the finite and physical.
The artist’s Death Is Elsewhere conveys an understanding that humans — relatively recent additions to a 4.5-billion-year-old planet — will come and go. The planet will remain.
The Biennale’s system of national pavilions may be an outdated relic, but it does succeed in putting a spotlight on countries that typically receive scant art world attention.
Katchadourian excels at investing commonplace, inanimate objects with vitality and soulfulness.
Ward doesn’t just utilize found objects; he communicates with them — intellectually, visually, soulfully.
For Hafif, painting was a meditative act, a clarifying ritual.
Simone Leigh’s chief subject is, in her own terms, “black female subjectivity,” hardly a predominant theme in an art world that has skewed way white and male since its inception.