The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
Salonen’s paintings point to a location in which reality is slippery, ill-defined — a dream or place of play.
Daisuke Fukunaga depicts Japanese workers as tired but happy. Are they, really?
Anthropomorphized frog, insect, and bird figures bob in the background, dancing at the same spring ball.
Jonny Negron captures the disappointment and delights of Dionysian narcissism.
The Lodge has a cheeky interpretation of Christmas cheer.
Artist Catherine Opie, in her first year as the chair of the UCLA Department of Art, told Hyperallergic that the faculty heavily considers how the artists will play off each other.
Bridget Mullen draws a line between the act of birth and the act of making art.
Lauren Satlowski’s paintings reflect the angst and solitude of the present moment, while thankfully leaving out any mention of face masks.
Reclaiming the infamous insult hurled at Hillary Clinton by Donald Trump, this show celebrates women’s contributions to art.
Linda Stark lends serious attention to the heart symbol, which, like most symbols associated with women and femininity, is easily dismissed and oft-overlooked.
In 1979, Frankenthaler traveled to the West Coast and was introduced to the gallery and studio Mixografia, where she would eventually produce a series of serene and exuberant prints.