In Against Our Will, Vivien Green Fryd makes a convincing case for the need to examine artworks through the lens of sexual trauma, a violent reality that unfortunately spans across gender, ethnicity, race, and time.
Suzan Pitt’s Joy Street is strikingly unpretentious and emotionally frank — refreshing in an art world that is often emotionally detached and intellectually cool.
Through its gathering of alternative spaces and roving exhibitions, Other Places Art Fair offers insight into how artists adapt to new conditions, whether it be by flat file, pool, or truck.
At the inaugural Felix Art Fair in Los Angeles, visitors can weave in and out of the poolside rooms with relative ease, though expect the usual hustle-and-bustle feel of art commerce in action.
The objects in Lazaros’s Astral Oracles correspond to a spell cast by the artist, who is himself a spiritual practitioner.
Esther Pearl Watson’s personal paintings depict the life and adventures of a family rich in dreams but perpetually strapped for cash.
A kind security guard monitors the entrance to the influencer-only social media shrine, which has drawn plenty of outrage.
The level of dedication required to see all nine films in her solo exhibition feels both deserved and important, since her films have largely been critically and commercially overlooked.
The incident on Saturday was not the first time Dalton Warehouse has been a target.
An exhibition meditates on blue’s various connotations and how it manifests in politics.
Nick Flessa lays bare the possessions of his mother for the world to see, as they become both an index of her life story and her son’s grief.
Friedrich Kunath’s latest exhibition is fragrant with nostalgia, melancholy, and whimsy.