There are many in Kentucky who wish to get beyond the Breonna Taylor tragedy, but Amy Sherald’s magnetic portrait of Taylor insists otherwise.
Pensato favored pop culture flotsam marred by the real world, which she transmuted into adventurous artworks dealing with raw, real world concerns.
It’s hard to imagine how three minutes of Mozart’s Marriage of Figaro repeated for 12 hours can be so riveting.
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The Biennale’s system of national pavilions may be an outdated relic, but it does succeed in putting a spotlight on countries that typically receive scant art world attention.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.